This is how they do Westerns in the land down undaaaaa, undaaaa!
During the 1800s, Charlie Burns (Guy Pearce) and his brother Mikey (Richard Wilson) are captured by the ambitious-sheriff Stanley (Ray Winstone). Along with their psychopathic, blood-thirsty bro Arthur (Danny Huston), they are wanted for a brutal crime. However, both sides of the law don’t really seem to come together until Stanley makes Charlie a seemingly impossible proposition in an attempt to bring an end to the cycle of bloody violence. Will it work? Or will the bloodshed just continue on like it always does?
The film starts off with an action-packed opening, filled with guns shooting, girls screaming, and a bunch of Aussie accents that sound totally bad-ass. This starts off the film perfectly but also gets you off on the wrong-foot. See, it makes you think you’re in for a non-stop, blood-soaking, shoot ‘em up type of Western, when in reality, it’s the slow, melodramatic type where instead of shooting one another, they like to montage about their feelings. Just one of the very smart surprises director John Hillcoat gives us, that doesn’t feel like a rip-off of every other Western to come before it.
After seeing The Road, I realized that Hillcoat has a knack for setting a fine pace not only through his direction, but through his cinematography. The whole film takes place in the Australian Outback and you get a feel that this is a dirty, sweaty, and hot-ass place to be living in and it starts to set in pretty quickly that it all takes a big part of the story considering these people hate living in it, almost as much as you do looking at it. But as dirty and grimy as this flick may be, there are still plenty of beautiful visuals here to just soak up in your system. Whenever you have a film that can perfectly capture what the bloody red sky can look like when it starts to get dark in the middle of the day, then you know you have a keeper on your hands when it comes to visuals.
However, it’s not just all about the look, as dirty and sometimes beautiful it can be, it’s actually all about the tone and pace of the story that really takes over you. Is this film a slow Western that decides to take its time on its story rather than its grisly shoot ‘em up battles? Yes, but that does not mean it’s boring in the least bit. In fact, this film kept me on the edge of my seat at certain points because you don’t quite know where exactly this story is going to turn up, and where it does end up; you are damn sure as hell happy that writer Nick Cave decided to go with it. Hillcoat and Cave work great here together because they keep the story flowing smoothly and methodically, and make it seem like they are constantly on the same pace with what they want to show and how they want to show it. Through Cave’s writing, we get a glimpse at these characters, what they’re all about, what they’re motivations are, and why it all matters, but it isn’t just a bunch of guys weeping on about how they just killed for the first time, because there is violence.
And wow Nelly! When it hits, you won’t soon forget it.
The violence here is actually pretty awesome and even though it doesn’t take up the whole story with constant destruction, whenever it does pop-up; it’s bloody and gory to the core, but doesn’t feel like it’s just there to shock us and have us ready to vomit. Nope, it feels reasonable, if that’s all these characters have going for them is taking another person’s life. You can believe that some of these sick, psychotic son-of-a-bitches would actually go to these levels of violence, just to get their revenge and it feels real rather than feeling like something the creators felt like this movie needed. Can get a little cartoon-y at times with the blood-spurting out and all, but you can’t go wrong with violence that feels deserved, especially when you’re talking about a good ‘ole Western. Darn toooootin!
If there was something about this story that I didn’t like it was that I feel like it dropped the ball on the one thing that would have really made itself matter: it’s moral theme. All of the best Westerns, even the shoot ‘em ups that I’ve mentioned about 500 times in this review, all have one central message that is always looming underneath the surface, and then comes out of nowhere by the end to really make us start thinking. That’s exactly what I thought was going to happen with this movie and I think that’s what they thought as well, but the problem was that it doesn’t end up really being about much in the end. Yeah, there was some discussion about loyalty to family and responsibilities, but when you soak it with all of this bloodshed and bad-assery, does it really matter?
The answer to that is: well, not really. All of the violence and tension for the movie works, but giving it more meaning in terms of how it could have affected our train-of-thought, would have definitely made it more important. Hey, it’s fine for being all about the blood, the guns, the bullets, the horsies, and the hay stacks, but I wanted more. Hell, I needed more! Then again, I don’t really need all of that philosophical shit when I’m watching a movie about a bunch of cops and robbers, going around, shooting one another.
But everything gets better when you think about this awesome, all-star studded cast. Guy Pearce looks pretty damn intimidating as our anti-hero (if you want to call him that), Charlie Burns, a guy who just shows up and wants to do the right thing, even though the rest of his family really can’t. Actually, I don’t even know if that’s what goes through his head so I’m probably just making shit up about him. The guy probably killed families and robbed banks for all I know. But what I do know is that Pearce has that rugged look and feel to him that makes you believe that this guy could kill anything, or anyone that he wanted to, but he just chooses not to unless he actually is pushed to “that edge.” Then, all hell breaks loose and Guy Pearce at his finest.
Somebody who really shocked me in this movie was Ray Winstone, because it isn’t the type of character you’d expect to see him playing, despite it also seeming like the type of dude he was practically born to play: the rough and tough dude that you don’t want to fuck with (that is, unless your Gandhi). But it still has him starting-off like he’s going to play that type of role with him seeming like the type of guy that just wants justice done, and will do anything to get it, but sooner or later, his true colors get shown off to us, and to the rest of the people around him. Once all is said and done and things seem to get a bit too heavy for him, we all see him for the big baby that he really is. Probably one of his least-intimidating roles the guy has ever played, and that’s a good thing because the cockney-gangster bit was getting sort of tired after awhile. The lady who has him come out of his shell and be a bit of a whimp is Emily Watson who is good at seeing why such a masculine, strong dude like him, would fall head-over-heels in love with this girl, and weep at her feet. Okay, she’s not that perfect of a human-being, but she is pretty damn gorgeous so I can definitely see why.
On the other side of the fence, you have Danny Huston playing another one of his evil roles, as the broski Arthur, and gives off a very creepy performance that makes you feel like this guy is going to do some bad shit, whether or not the person he does that to deserves it. He just wants to kill people for the sake of killing people and that’s what makes all of Huston’s roles pretty much scary as hell. Honestly, when has that guy ever played anybody that’s remotely nice in a movie? 21 Grams doesn’t count cause the guy is barely even in it! Don’t worry, I’ll wait here….
Consensus: The blood and guts that are spilled throughout the run-time of The Proposition make this movie worth the watch, as well as the cast, but underneath the surface; there doesn’t seem to be much else other than a bunch of guys just wanting to kill one another and possibly ride off into the sunset when the fun’s all over. So simple, yet, so twisted.
8/ 10 = Matinee!!
At least he’s on the wagon now.
After the wild events that took place in New York with Gods of Thunders and worm-holes and such, Tony Stark (Robert Downey Jr.) has found himself in a bit of a crisis. Not only is he constantly reminded of what occurred, but he can’t seem to get any sleep and continually works on his hobby: building and building shit. It doesn’t matter what it is or what it could do, the fact is that he’s building shit, losing sleep, losing the love of his life, Pepper Potts (Gwyneth Paltrow), and losing what it means to be a superhero. However, an evil terrorist by the name of Mandarin (Ben Kingsley), might just change that feeling in the pit of his stomach and have him realize what it was about him that made him Iron Man in the first place.
Since the Avengers came, saw, and conquered the world last Summer, it seemed only right that Marvel would unleash it’s brand-new bag and go back to where it all started: Iron Man, or if you really want to be legit about it: Tony Stark. Without the first movie coming out in 2008 and taking over like it did, who knows just what the hell Marvel might have done not just with their fellow, other superheros, but in general as well. But from what we’ve all seen and what we do know is that Tony Stark is the go-to guy for when you need a compelling movie, and Iron Man is a pretty bad-ass superhero, even if he doesn’t have a big hammer. I still think that’s one of the all-time best weapons in superhero history. By far.
The first piece of curiosity that sprang through my mind when I initially heard of this movie happening, was the choice of Shane Black as director and co-writer. If you don’t know who this cat is, I suggest you go and find Kiss Kiss Bang Bang somewhere on DVD and check that out because it is a gem of a movie and it’s all because of Black. The guy’s also written Lethal Weapon, but in my eyes: his directorial-debut ranks supreme against all others because it’s funny, exciting, and filled to the brim with plot that may seem like over-kill, but keeps you guessing until the end. And just as promising as that may sound for a guy who’s about to tackle Iron Man, it still seemed strange considering that not only was this his second movie to date, but also that his first one had barely any CGI whatsoever, or action for that matter. Most of it was just shooting, guns, bullets, a car-crash, and fake blood. That was it. So, how the hell did Marvel trust this guy with their biggest money-maker to date?
Well, whatever it was that the big guys at M found in him, sure as hell worked because Black does a superb job as both director, and co-writer. Not only is his humor present throughout the whole flick, but the guy also finds a way to throw in some neat and nice little twists here and there to spice things up. One plot-twist that I won’t give up unless you want to e-mail me about it (CMrok93@yahoo.com), really divided this movie into two, different ways. Some will definitely go along with it and think that it was a nice-departure from what we are used to seeing with typical, superhero movies, whereas others may be a bit pissed and wished that they exactly got that typical, superhero movie they had grown so accustomed to. I still haven’t been able to rack my brain around whether or not I liked it all that much, but I will say that in Black’s case, it sure as hell was risky, something different, and not exactly what I was expecting. So, yeah, maybe you could put me in that earlier-group of peeps, but at the same time, don’t, because I’m still not sure.
Just give me some damn time, man!
But what really worked for Black and what mainly surprised the hell out of me is how well he handles all of the action, CGI, and 3D (basically, the big-budget). Black knows exactly what the fans want to see when they see a superhero movie about Iron Man and that’s what the dude gives to ‘em. Some may actually be surprised to see that not all of this action features the actual superhero, Iron Man, but features more of Stark doing all of the ass-kicking himself, but it’s still fun and exciting to see, especially when you add a darker-element of story-telling on top of it all, which is what Black has done surely well. Of course the humor is always there to keep people laughing and giggling, but the stakes feel higher with this one and it’s no surprise that some may actually be scared as to who’s going to get off’d next, who might not make it for Iron Man 4 (although Paltrow spilled the beans on that enchilada), and who’s going to come out victorious and with a little bit of something to brag about. It’s fun to watch a movie that knows how to keep the energy rolling without a real break in the pace, but it’s even better when you feel like the seconds you see a person on screen for, could just might as well be their last. Black keeps this going for quite some time, that is, until the last-half shows up and sort of ruins things.
For the most part, about an hour and a half in, I was on-board with this movie and I easily felt like I was working on a 9-9.5 here, but something happened. No, not the twist I was talking about earlier, but the final showdown that we all know is going to eventually come. Something, I don’t know what it was, just didn’t feel right. It didn’t feel as epic as the rest of the movie did and it sure as hell didn’t do much to really knock me out of my chair with it’s originality; something I was seeing from Black’s side of the room, more and more. Don’t get me mistaken, I still had a ball with this final-act and just about lost my hearing by how many clangs, booms, and bangs I continued to hear (that’s a good thing, by the way), but something didn’t make it feel like the movie was tied-up with a pretty, little bow at the end like all of the other superhero movies have lately. Even Iron Man 2 somehow decided to do that, and as we all know: that was nowhere near greatness.
However, I can’t put anything against this cast because as usual: they are all phenomenal, even the newbies too. But I’ll get to them later, let me stick with the man of the 2 hours, the man with the power, and the man who practically has it all: Robert Downey Jr. Everybody and their mothers (the coolio ones who didn’t give up on him when he got busted all of those years ago) know that Downey was made for this role and he continues to show us why with his egotistical act, look, and feel. Yet, there’s something more to this guy that makes him actually feel like a hero worth rooting for. Stark does make some stupey mistakes and gets caught-up in situations that he could have easily gotten himself out of if he just thought more, but he’s human, dammit! That’s what we do. And even if we don’t have a mansion, a billion dollar corporation, or a suit made of iron that can kick ass and speak like Paul Bettany, we still feel like this guy would do the right thing, if he was given a chance to make the decision as to what that exactly is. Downey is funny as usual, and probably a lot better with the script considering that he practically vouched for Black to get this job, but it’s his human-aspect within that makes this character tick, rock, and kick….some ass. See what I did there? Yeah, I’m all out of being witty for the night.
Even if it seems like nobody in their right minds is willing to let all of the hate for Gwyneth Paltrow go, just for a little bit of time over 2 hours, at least the girl still shows us that she can act and be charming as hell. I don’t hate Paltrow like everybody else seems to, and that’s why I really liked her as Pepper Potts because it not only felt like her character really loved Tony and wanted him to be all fine and dandy once things were over with, but that she could also stick up for herself in the chance arose itself. Pepper isn’t the type of character that you could classify as a “damsel in distress” and that’s the route that Black turns away from and gives her more a chance to knock some people out, if she needs to. During this movie, she definitely does need to and that’s exactly what she does. Keep on going, Mrs. Coldplay!
Don Cheadle is here once again as Col. Rhodes (still thought Terrence Howard was better, but hey, that’s just me, baby) and does fine with what he’s given. Cheadle doesn’t have a huge role here but gets more to do than just pick up Tony’s scraps and make us feel like he’s more of a bad-ass too. Although, I will say that he does get to show us what makes him all bad-ass still. Oh, and before I forget about it all: Rebecca Hall is here as an old-fling of Tony’s and is good, even if her beauty and charm does seem a bit wasted on a character that is essentially around just to show how much of a chauvinistic a-hole Tony basically was back in the darker days before he fell in love with Pep. Still, the girl is mighty fine!
Now is the part where we go onto the baddies and this is where things begin to get a little dicey for me and you. See, Ben Kingsley and Guy Pearce both play some evil a-holes that definitely are not the breed you want to mess with, let alone see Tony mess with, but there’s more to them than just that and I can’t give away too much without sounding annoyingly-vague, or just giving it all up. Both do what they need to do as the baddies, especially Kingsley who actually terrified me at one point, but there are more layers to them and once you see what’s really going on with these cats, you might just be a bit surprised. I sure as hell was and once again: I still don’t know what to make of it. What I can say though, is that the movie does not, for a second, stray-away from giving these two guys plenty of scenery to chew on and that’s where all of the fun comes from. Because if you think about it: that’s all you need in a good villain, right?
Consensus: Starts off perfectly with a funny script, electric set-pieces, and a cast that never backs down from a script they can’t grapple, but Iron Man 3 ends more on a whimper, than on a bang. Which would have been all right and perfect with the world, had we not already see the Avengers and know what there is to expect with the Marvel Universe.
8.5 / 10 = Matinee!!
P.S. Stay for the credits. Even though you probably already knew that, didn’t you?
Matthew McConaughey is Mud, a fugitive drifter hiding on a small island in the Mississippi River. He’s on the run and living peacefully all by his lonesome, that is until he is found out by two, young boys (Tye Sheridan and Jacob Lofland). They don’t cause him much trouble as they seem to be more lost in wonder about this dude and eventually assist him in evading capture and reuniting with his beloved girlfriend (Reese Witherspoon).
So far, for writer/director Jeff Nichols; life has been pretty good. Not only did his first flick (Shotgun Stories) have “the artsie crowd” jumping in their tight jeans, but his second one (Take Shelter) got his name out to a bigger audience that one more over, just by the sure-fire of Michael Shannon being the man. But we all know that when something is too good to be true, it usually is and that’s what I felt like going into this movie. It wasn’t that I doubted Nichols’ skills as a writer or director, it just seemed like such an obvious and predictable story where boys will be boys, and we’ll leave it at that. That’s what I thought, but what I got was so different.
Sorry for ever doubting ya in the first place, Jeffrey.
Movies that feature kids at the fore-front really have to win me over with more than just showing them being funny and insightful by cursing. They have to give me something more, and that’s exactly what this flick did. Instead of reaching for the conventions, and giving me a story that I’ve seen done a hundred times over, Nichols takes that story, and loosens-up it’s hinges a bit. It sort of like Nichols knew the type of genre-movie he was making, and decided to give it a little taste of his own. Not as dirty as I may make it sound, but it sure is fun and entertaining to watch.
Fun and entertaining in the way that the movie starts off quick and continues to go that way as well. There are moments when the flick decides to get real heavy on us and teach us some lessens, but not anything that really hit us in the face like a fish. Nichols keeps every character and their moments grounded in reality where we see these people who for the types of people they are. Each one, in one way or another, has a relationship with somebody else that you’d never knew about before, but the film brings up and shows you how that developed over time. It’s so interesting to see what you can do with character-development, just through simple and lean conversations. Some of it’s dramatic, some of it’s subtle, and some of it’s obvious, but most of all: it was interesting to see and made me care more for each of these characters as the stakes got higher and the tension began to build.
And once that tension does blow off, it does it in a way that isn’t everything you’d expect from a movie like this. Without jumping down the throats of all of you fine people with spoilers out the wahzoo, I’ll just keep it real simple in the way that the flick does end with some shooting and whatnot, but not like you’d expect. It happens for a reason and not just because Nichols got bored and needed to light up some fire works. Once again, it’s another way of showing how certain people use violence to their advantage and don’t seem to care about the after-effects. Just what needs to happen, and how it can be pulled off. Now, where have I heard that before!?!?
But it is meant to be said that by the end of the movie, things did start to get a tad bit conventional. Almost too much, dare I say it. It isn’t that I didn’t hate the flick for ending the way it did, but going to where I could sort of tell everything that was going to happen, and for what sole reason it was as well. Nichols did everything right leading up to the end, but the actual end itself is a tad of a bummer, for the sake that you know where it’s going to go. Again, I don’t wholly mind when a film goes that way, but it did sort of feel like a cheat, coming from Mr. Jeff Nichols here. He had me going though. He really did.
Though, I can’t be too hard on Nichols, because the guy has assembled a fine cast of characters here and that is definitely meant to be praised more than discouraged. Matthew McConaughey has been on a role as of late, and it doesn’t seem to show any chances of slowing down, by any means. His role as Mud is great for him to play because he gets the chance to, once again, tool around with the idea that we don’t know everything about this guy, what he’s done in his past, why he’s doing it, and if everything he’s saying is all truthful or a tall-tale. The whole time I kept wondering what was up with this guy, and by the end: I still didn’t quite know. But that’s the whole beauty about McConaughey’s performance in how he is able to mess with us, even long after the movie. We get general ideas about the guy where we see he’s a slick, cool, and kind fellow that does things for the people he loves, but a bit too harshly? Maybe? The answers to those questions are left for you and you alone to decide. Get going!
Tye Sheridan and Jacob Lofland play the two boys that find Mud on the island, and remind me of two kids that were picked right out of a Stephen King novel. They curse, spit, swallow, and cause havoc like all kids usually do, but there’s more of a sweetness to them that makes you want to hang out with them, as well as wish the best for them through this wild adventure. Especially Sheridan, who won me over two years ago in The Tree of Life and showed me some real promise as the next, young actor to watch. The kid’s story-line may be a bit too packed for it’s own good, but the kid kept his head above water and that’s more than enough I can say about certain kid actors out there.
After her most recent 15 minutes of fame in the slammer, Reese Witherspoon finds a way to re-group herself from driving and puts her rump down in the acting chair, like she should because she’s good at it when she isn’t choosing shit scripts. That’s a very rare thing for her, but let’s just soak up the moment now, shall we? What’s good about Witherspoon here is that she uses her beauty to her advantage in the way that she never gives you everything you need to know about her, only what you think you need to know. She walks a very fine-line in being both easy to trust, but also a tad mysterious in her ways, and it’s a fine-line that Reese can walk (at least when she’s sober that is!!). I’m really glad that Reese picked up a role like this because it reminded me why the gal was so lovely and so talented in the first place. I mean, hello! She does have an Oscar!
Nichols’ buddy from his past two movies, Michael Shannon is here as an uncle of one of the youngsters and is good, even if he isn’t in it all that much. Actually, the role is so small that it seems like he just showed up for one day of filming, cleared-out his schedule, and went right back to being Zod and reading sorority sister letters. The one who really steals the spot-light away from them all is Sam Shepard who shows them that he is still the bad-ass he once was, even after all of these years. Nice to know that guy’s still around and can do shit and do it right.
Consensus: Mud takes a slight-detour into convention by the end, but it’s a trip that’s worth taking regardless because of the amazing performances, the heartfelt script, and characters that are worth watching because you care for them and feel as if you know them.
8 / 10 = Matinee!!
Come on, it’s family. Just get along with one another so Christmas can be a whole lot better.
Three close brothers, Son (Michael Shannon), Boy (Douglas Ligon) and Kid (Barlow Jacobs) hear the news of their estranged fathers death and decide to go to the funeral, and basically talk a whole bunch of shit on him. Predictably, this causes a lot of ruckus and anger with their step-brothers, which makes things a whole lot more tense for everybody involved.
Two years ago, a little film named Take Shelter, took everybody by surprise and showed us the type of talents that lied within writer/director Jeff Nichols. But, for anybody who was a big-time film nerd and had been keeping this guy on their radar, would know that 4 yours prior, he had another little smash-hit of his with a film that seems to go hand-in-hand with his second one. It’s pretty neat to see what directors debuted with as they are sometimes terribly bad and you can see why they’re called “directorial debuts”, and other times; they have you realize just how damn good these guys really are behind-the-camera. This, is one of those latter cases.
What I liked so much about this flick was how the film had me interested right from the start. Of course it has a slow and deliberate pace that may bother some, but for me, I was intrigued right from the beginning. Right off the bat, I payed attention to every single little thing somebody said because it made me understand all of these characters, what they do, who they are, and what’s their significance in this story we have here. For the first 15 minutes or so, nothing really exciting happens other than just a bunch of people going around and shootin’ the shit with one another, but it’s all very interesting and had me set from the get-go, believe it or not.
A lot of that has to go to not only the direction of Nichols, but his writing as well as it seems like he has that pitch-tone perfect ear for natural dialogue that just doesn’t feel like “movie talk”; it feels like real people talking. But it’s not all about the talking here, because once those first 15 minutes go out of the way, something then changes in the film and there is all of a sudden this time and place where things get very intense, very surprising, and very emotionally-charged. I can’t go into this flick any more without giving certain plot-points away but what I will say is that the places this film takes and goes really do work and will actually surprise you by how dark it is and just by how much it makes you feel. It catches you off-guard, and becomes more than just a movie about a bunch of hicks talking, drinkin’ blue ribbons, and listening to Allman Brothers.
Of course, as you could probably tell, this flick pits one gang of brothers, against the other gang and that may come off as a very obvious and conventional piece of story-telling, but the way Nichols handles it is anything but. Instead of making us realize who’s right and who’s wrong in the situation these guys find themselves in, Nichols shows how both sides of the equation are both kind of dicks and don’t really use their head when it comes to making decisions. They just use the idea of revenge and it gets them all wrapped-up and hell bent out of shape, until one dumb thing happens after another, and then everything just spirals out of control until there’s nothing left to gain revenge about or for. It’s just a bunch of sad and lonely dudes who can’t help but feel the need like they need to sucker somebody next. Nichols shows this in the most perfect way possible and it’s true sign of what this guy can do with a rather-conventional plot, and still make it as insightful and surprising as any other story.
Now, where I do think that Nichols messed himself up a bit in was how a lot of this material is a bit too subtle for it’s own good. Everything in this flick is pretty much understood from start-to-finish with barely any moments of confusion whatsoever, but there’s just way too many scenes and snap-shots of people standing around, drinking, sitting, hangin’ out, and staring into space without really uttering any words. I get that this gives us the essence of what real life is exactly like, but it never seems to go anywhere and could have maybe benefited from some more talking or just a total cut of all those scenes in general. Then again, I can’t really say that there are really any unnecessary scenes in this film at all, so maybe the cut wouldn’t have done it any good.
Most people will probably be surprised to see how there is absolutely no familiar faces in this film whatsoever, that is, unless you’re not going to count the man, the myth, the legend, aka Michael Shannon in the lead role as Son. No seriously, his name is Son. I guess big daddy couldn’t find time in his day for originality. Anyway, back to the man, the myth, the legend: Michael Shannon. As most of us know by now, Shannon is the master at playing it subtle but can bring out the scariest and most painful reactions from anybody, just by a twitch of his crazy-eyes. The guy looks like a loon, but there’s something very genuine and comforting about him that makes us stand behind his character as the more reasonable brother of the three. There’s something about Shannon that has us love this character right from the start, even though there is a huge pound of mystery surrounding him throughout the whole story, we still like him and trust him to do the right thing in the end. We hear some strange things come up into conversation about him from other characters and whatnot, but never anything to the point of where we feel like he’s a complete psycho. He’s just a dude that just so happens to have done some bad shite in his life. Haven’t we all?
There’s a whole slew of other characters in this film that do some great jobs, and I was surprised since I haven’t seen any of these people, show up in anything else. That surprises me too, considering just about everybody does an excellent job with everything they’re given. Except, there are a couple of side performances here and there that show up and seem a bit poorly-acted depending on who’s delivering the lines and all that. But like the scenes of people staring-out into the fields, it didn’t get to my head too much when the dialogue was as natural and interesting as it was here.
Consensus: It may follow a conventional plot line, but Shotgun Stories is anything but that in terms of everything else. The writing and direction from Nichols is superb without ever being showy, and the somewhat unknown cast all do excellent jobs with their roles, that seem to add on extra layers to a story that could have easily been played off as your run-of-the-mill, revenge story taking place in rural Arkansas.
8.5 / 10 = Matinee!!
I really got to work on my pool skills.
“Fast Eddie” Felson (Paul Newman) is a man that knows how to play his game of pool, win, and while he’s at it; hustle some peeps in the long-run. However, his shenanigans eventually start to catch up with him once he decides to get involved with a lady of his (Piper Laurie). But it only gets worse once his desire to prove himself the best player in the country is by beating legendary pool player “Minnesota Fats” (Jackie Gleason).
“Cool” is a word that fits plenty of films, but not as well as it fits this one. In fact, I never quite thought that a sports movie about pool would actually be considered “cool”, but there’s just something about those old school billiard lounges, filled with smoke, brewskies, and jazz music that are just able to get you in the mood for some cue-balling. Oh, and some gambling too. Can’t ever forget about that fun activity.
Actually, I wouldn’t even consider this a sports film, but more of a character-study that gives us a character, a dilemma, and a reasoning, and uses the game of pool as a background. Most movies of this nature have been using this idea for centuries, but this flick shows it in a different light that isn’t all hurrah hurrah about it’s sport, or the people partaking in it. That’s right, no Kurt Russell speeches here. Cue the tears.
This film is surprisingly very dark but it never lost me and it was pretty intriguing to see where this film went with Felson. We get to see him through all of the thick and thin where we see him at his highest, as well as his lowest. We also get a chance to see him for his flaws, as well as the aspects that make him so likable and charming, upon first-sight. Felson could also serve as the protagonist for this story, but he’s not an underdog, there’s no valiant loser, no witty old-timer that is getting the young buck for his next big match, and there is no training-montage let alone, any scenes of training whatsoever. This is what separates this sort of movie from all of the other sports movie and it’s a risky move that director Robert Rossen takes with this material, but makes it work no matter what.
But no matter how dark this film may actually be, there is still a certain type of coolness about it that just lingers underneath everything else. There’s all of these countless themes about greed, addiction, love, hustling, and the fear of being lonely, that could get any sports-junkie on the suicide watch list, but do more than you think. It adds a certain brooding sense of feel and style, but also enhances the mood in which you feel like the way these games of pool are set-up and played, are definitely not the type of ones you just decide to play around with, while you and your bud are drinking before the big fight. Nope, there’s more to it than that, and I have to say that it’s a bold move that I can’t see many other sports movies taking nowadays. That is, unless they didn’t want to earn any money or fans with the popular, movie-going crowd. Because honestly, let’s think about it: which person wants to see a sports movie, only to find out that it’s a whole two hour flick dedicated to one person crying, and swallowing in his own misery? Maybe this guy over here, but sure as hell not the type of people I know who want to see movies like these. Hence why it was made in 1961. A much simpler time where people had standards. Sort of.
Paul Newman is known as being cool in almost everything he does, and ”Fast Eddie” Felson is the perfect personification of that. Newman brings so much cool wit and charm to this character that in almost every shot, you can just feel them both oozing out of every line he speaks. Whether he’s doing it with his eyes, his lips, or his physical-stature, the guy’s always got something to say and whether or not the other person across from him is going to like it, is wholly on their asses. The character of “Fast Eddie” isn’t a particularly likable one, considering the guy always acts like his shit doesn’t stink when he wins two games in-a-row, but Newman keeps him grounded and always worth a cheer. You never know where this dude’s story is going to lead into next, but Newman keeps you guessing and wondering just how he pulls off these acts of desperation, but still seeming to be “cool”, underneath it.
Then, on the total and complete opposite side of him is Jackie Gleason as Minnesota Fats. Fats rains supreme as a totally different character than Felson, for the sole-fact he is just the intimidating guy you do not want to fuck with if you see him across the bar. But yet, Felson loves to do that and does just that, many ‘a times. Fats is a character that reminded of one of those old-school, big guy mob types that you can just feel the tension of. The only difference here is that this guy isn’t part of the mob (or at least so I think), he’s just regular, old-school pool shooter that just so happens to be one of the best in the country and Gleason plays this up so perfectly. Fats isn’t really in the film that much but whenever he is, it’s easily some of the best parts of this whole flick and his presence is always there throughout the whole film. No matter where “Fast Eddie” goes with his game, with his money, with his dame, and with his high-life; Fats will always be there ready to play again.
But I can’t just talk about these two without talking another two that absolutely knock their roles out of the park as well. George C. Scott has probably never been as dirty or greedy as he is here as Burt Gordon, one of the main guys that takes Felson under his wing, but strictly for money purposes. Scott is so damn detestable but you can’t take your eyes off of him throughout the whole movie because you know he’s going to screw Felson over, one way or another, and it’s going to hurt big time. Piper Laurie is also amazing as Felson’s love interest, Sarah, but be warned; she isn’t your normal romantic love interest all of these sports movies have. This chick has problems, BIG, BIG problems, actually. Sarah is a very interesting character because she just seems like one of these chicks that is always so drunk all of the time, that it’s easy to underestimate her, but after awhile you realize that she knows what’s up with everything that Felson is doing and what could possibly happen to him. Laurie is great with this character and makes her watchable the whole damn time, even if the ride between her and Felson isn’t always enjoyable, nor is it all that believable once you see how they act with one another, once they get drunk, wild, and rich. Bad combination right there, no matter who you are.
Being that this is an older film and a lot of the people in it talk all hip, sly, and witty, in the way that they probably thought was hip, sly, and witty back in 1961; some of it does feel dated. Not all of it, but some. Some performances go a bit over-board and I couldn’t help but feel like a lot of these dude’s who’s reactions are filmed, weren’t just because they were talented actors, but because they were the only actors around to take part of filming at the time. It’s been almost 40 years and one sequel later, so maybe my main-beef is all but idiotic, but it’s just little problems like that, that usually get to me. Don’t know why, it’s just the way I am. Go home if you don’t like it.
Consensus: The Hustler isn’t your quintessential sports movie that’s all about the happy cheers, beers, and winning championships, but more about a loner of a dude that makes money a cheap, but sly way, and gets caught-up doing so. And sometimes, in more ways than one.
8.5 / 10 = Matinee!!
Rocky Balboa’s only real competition: a woman!
In the wake of a painful estrangement from his daughter, boxing trainer Frankie Dunn (Clint Eastwood) has been unwilling to let himself get close to anyone for a very long time. That all changes when Maggie Fitzgerald walks into his gym, but also walks into his life. Maggie wants to box, but Frankie ain’t about teaching girls to box since it’s considered a joke around the league and his buds that have respected him forever. However, Frankie sees something in her and realizes that maybe there’s more than just a woman underneath it all; there may even be a true fighter. And I’m not just talking about in the ring either, folks.
You have to really give it to Mr. Clint Eastwood; the guy just never stops. Most 82 year olds out there, wake up at 7 a.m., have a nice piece of toast for breakfast, watch golf, sit on the porch, read the paper, talk about the good old days with whoever’s present (sometimes nobody), watch the news, go to sleep at 9, and do the same thing all over again the next day after that and so on and so forth. However, that’s not how Eastwood rolls, nor is it how he likes to spend his latter-years, and even though the guy has had some stinkers in the past, you still have to see that this guy has some real talent left in him and he shows no signs of stopping.
What I liked most about Eastwood’s direction here is that he takes your ordinary story about a trailer-trash girl who has high hopes of one day being the next big thing for boxing, and turns that cliché into something heartfelt and real. No matter what form of advertisement you saw of this film, everybody had it being planned-out as the “female Rocky“, but that really couldn’t be any further from the truth. You feel like all of these character’s motivations are understood, realistic, and best off all, believable to where you can hold everything closer to heart. It’s also a sure thing of beauty to see the relationship between Frankie and Maggie build over time, almost to where he becomes a father-figure for her and she becomes a daughter-figure for him. It all sounds so predictable, mushy, and ham-fisted but it’s surprisingly not, which is mostly because of how much of this rings true to not only these characters minds, but also their souls. You can tell that each and every character starts to wear their hearts on the sleeve by the end, and for that: I think I decided to join along in the heart-wearing festivities.
I haven’t gotten choked-up at a film in quite some time, so by the end, when I started to tear up just a bit, not only did it make me feel good but it also made me realize how great of a director Eastwood can be if he just plays it light and assured. So many films from Eastwood, especially lately, have all been about him trying too hard to get in the way of the story and because of that, he makes some big mistakes in the process. Some of which, actually cause him to lose control of his whole movie, then that’s where he leaves his actors to pick up the pieces. That is different here as you can tell that Eastwood is not all about getting pigeonholed into another genre flick; instead, he’s more about telling the story from his heart and that’s evident through this compelling, but always-subtle direction.
Even though this film did work for me so well in so many ways, there were other problems I had with this flick that made me take away from my final grade. One of the main elements of this film that bothered me was Maggie’s, trailer-trash family that was so one-dimensional that every time they were on-screen, I couldn’t help but laugh, which was something I’m sure I wasn’t supposed to do in the first place. I get it, they’re a bad bunch of siblings that only care for themselves rather than the down-and-out daughter that’s doing everything she can for them, but every time they showed up (which was usually the most emotional scenes out of the whole film) I couldn’t help but think that the only way to get rid of these stereotypical characters in a good way was to have Eastwood take out a .44 Magnum and blow ‘em all away. Obviously, he didn’t feel like doing that this time around but it would have been the best solution to getting rid of these characters and their annoying ways of speaking and acting. Seriously, what a bunch of grateful asses.
Another big element of this film that I couldn’t take in for certain was the champion boxer Maggie ends up facing. Not only is this chick as one-dimensional as Maggie’s familia, but she is also unbelievably ruthless and cruel, to the point of where I don’t really think she would even be allowed to fight in the ring again, let alone, hold the crown for a big bout. Both of these elements may not mean much now, but in hindsight, when they are placed in some real, dramatic scenes, you can’t help but feel like you’re being cheated just a teeny, weeny bit. Hey, I didn’t say Clint was always perfect.
Speaking of Clint Eastwood, this guy is pretty stellar (no surprise there) as the notoriously cranky boxing trainer, Frankie Dunn. Eastwood starts the role off with his usual grumpy, old fart character that we usually see him pull-off so well, but by the end, he starts to reveal some dramatic-layers within his acting that I didn’t even know really existed and even though I did, I still haven’t had the privilege to see them in awhile. Of course, we’ve all seen Eastwood pull out some of his dramatic chops every once and awhile, but not as much as we see here and it’s something of total beauty to see because you feel for his old man, mostly cause you know that this guy is a good man. He’s an old fart that yells, cranks, and pisses on everybody, but he’s still a person none the less and should be treated as one for that. Throughout the whole movie, you can tell that he is trying to forgive himself for all of the time he has spent away from his daughter and more on in the ring, but you realize that Maggie is the one last hope of forgiveness for him and for that, you root him on as much as you do for Maggie.
And as for Maggie, the gal that’s playing her, Hilary Swank, gives yet again, another top-notch performance of hers as the trailer-trash boxer, but this time; with more layers to a character that could have easily been deemed as “conventional”, “obvious”, and “not worth spending more than 2 hours of your time with”. Maggie is a character that annoyed me at first, considering she seemed like she was just too damn happy and optimistic to be in the boxing atmosphere, to be training, to be getting into shape, and to be trying to make a living off of punching the hell out of people in the face, therefore, made her too much for me at first. But then I thought to myself: who cares!?!? Give me more! Well, that’s what I got and I have to give a lot of credit to Swank for pulling this role off perfectly because not only do we see her for the bad-ass that she can be whenever she’s in the ring, but we also see her as a very sad, lonely, and hopeless little girl that just can’t make right with her family, or her life. Pretty sad stuff, but Swank makes it hopeful with her performance and it was a good choice for Best Actress that year.
Oh, and in case I forgot to mention already, but Morgan Freeman is here as Eddie, the washed-up boxer who works/lives at Frankie’s gym. Freeman narrates this movie, and of course, it’s as classy and stylish as ever, but his voice is only used to enhance the story-telling, his performance is a whole, ‘nother thing completely Freeman is always a solid actor and always gives it his all no matter what the shit-pile may be, but his performance as Eddie is as rich and emotionally-powerful as it’s gotten for him, recently at least. Eddie is a bit of a smarty-pants that may not have the best past for a human-being, ever, but he still is somebody that you love and feel for just because you know that underneath it all, this guy is hurting from the life that he could have had in the ring and for some reason; just never did. Freeman has this one, special scene where he talks about his last match and it’s not only a great scene, but one of the best in Freeman’s career. Underneath all of that narrating he does, it’s still nice to see him pull his acting-chops out every once and awhile and amaze us, as we all know he can do. These three are amazing and keep this film grounded in emotional honesty, and brilliance.
Consensus: This may look like your normal, predictable sports drama that we have all come to know, see, and sometimes love/hate from this genre, but Million Dollar Baby is different than that category most movies get sucked into. With a steady and sturdy direction from Eastwood, characters to care for, emotional-truths behind people we want to hear speak, and a trio of solid performances, it’s better than those types of movies and one that you won’t soon forget, long after you’ve seen it for all that it is.
8.5 / 10 = Matinee!!
Makes me ponder if all of those Jim Morrison death-tales are true. Hitchin’ a ride to France! See ya soon.
Rodriguez is an artist’s name none of you common-folk may know (hell, I don’t even know), but if you go to South Africa, they’ll tell you everything about him. However, everything except where he is, who he is, and just if he’s alive or not. This is a documentary where we not only talk about his past, where he came from, what he did, and why he has remained so obscure over the years, but whether or not this guy is able to be found or not. Just watch and see the results for yourself.
I’m a huge music fan, but I never, ever knew who the hell Rodriguez was. Before I started crying, opening-up my Spotify account, and start listening to all of that person’s albums, from beginning-to-end to know what all of the fuss was about, I was relieved to find out that I wasn’t alone considering he sold about six copies of his first album in America. However, on the other side of the planet in South Africa, that’s a totally different story. Not only is the man referred to as a legend there, but the guy was banned from regular radio-play as his promiscuous lyrics were apparently too much for the South African-government that was also going through Apartheid as well. Oh, and let’s not forget to mention the simple fact that the guy made millions and millions off of this record, but yet, has no idea of it whatsoever. That’s where this story really kicks in and we get to discover just where this man is, who he is, and why he walked away from it all.
Right off the bat, you can really tell that these filmmakers not only respect their subject, but idolize him as well. So much is made about him before they even get to the tracking-shite, as we hear about famed-stories of him playing music, getting noticed, recording, doing concerts, supposedly killing himself and getting away from it all. This is all interesting as it made me feel as if I was really hearing about one guy in particular, or just some legend that everybody loved and made some pretty awesome music (song is still in my head). After awhile, I did realize that this was just one person in particular that these peeps were all talking about, but the ride didn’t just end there.
The next part of this documentary was tracking the guy and it put me on a real roller-coaster not knowing if they were ever going to find him and if they were, what type of mental state would he be in. It was cool to see all of these interviews where certain people would talk about where they think he is, why they think it, and how others can search for him themselves, which interested me because they find him just through looking at one of his lyrics where he actually mentions an area in Detroit. Now, I never thought that they would go this far, but apparently they really wanted to and thought it was worth it all! Can’t say I argue with it all that much after seeing the movie, but still, something is still lingering in my mind about it.
Okay now, before I jump into all of the wrong and terrible stuff about this movie, let me just keep on going with the goodies. The subject of Rodriguez because not only is he one of those obscure artists that has his own following, but because as time continues on and the adventure builds up and up, we get to understand learn more about this dude and what is so significant about him and his life of music. We hear so many people throw air up the dude’s ass, but we never fully understand it or hear it for that matter. Then, we go to South Africa where we see this guy’s legend take ahold and give hope to a bunch of people that needed it. It was cool to see that music could still keep people alive and well, even in the days of the Apartheid.
Just the whole idea that there was this one musical-icon that so many people loved and cherished, would all of a sudden, get up, and decide to leave it one day and never be found really surprises the hell out of me. It seems that in today’s day and age that staying completely out of the lime-light and being able to get away with it, is almost a ludicrous-idea, but the man was able to get away with it and from what I think now; probably still is. Just so cool to see where this movie goes, how it goes to where it does, and where it ends up. However, that’s the problem: where it ends up.
Everything that leads up to the initial meet-up with Rodriguez is awesome because the director and producers seem to love the hell out of Rodriguez so much, that they want to treat his real-life story with tender, love, care, and respect without offending him or anyone in the process. However, that’s the exact problem: they care TOO much about the guy. Once they finally get a chance to speak with Rodriguez, see what he’s been up to, and find out why he left the music world in the first place, the interview is so worthless and dry that I honestly had no idea if I was watching warm-ups or the actual interview itself.
For instance, once Rodriguez is told that he was a huge star in South Africa and how he feels about that, he just simply replies, “Uhmmm…well…I…uhmm…don’t know what to say to that.” Okay, that’s fine, it’s what he wants to say but that is all apparently fine with these creator’s heads. They think that’s a suitable answer and it will suffice. For any person who has ever watched a good documentary, you always know that the key to a good documentary about an interesting subject is being able to get all answers out of that person as much as possible. This interview here seemed to be all about heavy-petting and high-fiving all of the way.
Hey, I’m glad that these guys finally got to meet their hero and had a chance to chat about the dude’s life, but don’t hype it up for me so much to the point of where I’m getting the willies in my chair as to whether or not this guy’s going to be getting gnawed-on by some rottweilers or if he’s going to be same old hippie he once was before. It’s nice to know that the guy is still pleasant and happy in his latter-days, but it seems like there should have just been more with the interview with the man and more about him in general. Instead, most is just left on the cutting-room floor where we may be able to see it one day in the DVD-extras. Maybe. I don’t know if I’m going to go that serious looking for this.
Consensus: Searching for Sugar Man has exactly all of the right ingredients for a great documentary: interesting subject, mystery, suspense, and great look, feel, and sound. But it’s also missing the mist important ingredient of all that would have made it a “great” documentary, instead of just a “good” one: the hard-hitting questions we all wanted to hear answered, for better or worse.
8 / 10 = Matinee!!
Thanks to Jackie, white men all around the world can now make excuses for missing their shot at the big-time.
Whenever you see a professional sports team on the television, most of the players are African Americans. Yeah, some whites here and there, but mainly African Americans, but it never, ever used to be like that. However, thankfully, one man had to knock that barrier down and that one man’s name was Jackie Robinson (Chadwick Boseman). Without him, we wouldn’t have blacks and whites playing aside each other in such sports as basketball, football, baseball, and so on and so forth, but it was harder than expected. That’s why Brooklyn Dodgers manager Branch Rickey (Harrison Ford) comes in to make sure that Jackie is above the people who criticize him and not stooping to their racist ways. Cause when in doubt: one must always listen to the guidance of Han Solo. Always.
Jackie Robinson’s story is an amazing and inspiring, but best of all; it’s all true. For so long now, we hear stories of these famous legends that have seemingly changed the world we live in, and yet, we always hear some stories about them whether they be a bit of a scandal or negative in anyway. That’s why it’s so nice and somewhat refreshing to get a story on a person that stayed true to himself on, and off the field. Not saying that Robinson was a saint-like person 24/7, but given what we know about him through books, interviews, and videos; the man was a wonderful that broke down color barriers for us all.
It’s such a wonderful person and story, that it’s honestly a real wonder to myself as to why it’s taken Hollywood so long to jump on this man’s story, and give him the biopic treatment. I mean, there was some B-movie in where he starred as himself, but from what I know so far: no movie has been made about Jackie’s life. That’s where writer/director Brian Helgeland comes and changes that all up. Not like Jackie changed the world of sports, but you see what I mean.
What I liked most about Helgeland’s approach was that the guy focuses on Jackie, his life, and the way he plays baseball, but doesn’t allow it to get too corny to the point of where it’s almost insincere. Most sports movies that have to do with a figure in a certain sport that changed the way it was played or viewed as, usually get their image skewered in a way that makes them look as if they were the second-coming of Christ, with little to no flaws, and an incapability of saying/doing the wrong thing. However, this movie does not paint Jackie as that. From all that we know, the guy was a great person but he had problems coming to terms with the way the world treated him; he was constantly freaking out when people booed the hell out of him for being black; and he never got to share those heartfelt-experiences with his teammates, like they all did with one another. Nope, the guy was sort of a loner and seemed to be really upset by the way the world was looking at him, but he never really let it get to him fully.
That’s why I thought it was great to see this movie not just paint him as a person, but a kind and believable one at that. A lot of reviewers have been getting on this movie for not going any deeper into the psyche of Jackie Robinson and not exploring what really made him human, but I think that’s not the point of this movie. Granted, I would have liked to see some more development of Jackie, his home life with his gal-pal, and his troubled-times on the road, but those are all minor nit-picks in the grander scheme of things. The way that the movie handled Jackie’s story was a respectable one, but also a very honest one in where it shows us what this man had to go through in order to break down those barriers, and in the end: makes you see his legend even more.
So, with all of that said: is it an inspirational movie? Maybe the movie isn’t as inspirational as the true-life story is, but yeah, it still works. You feel for Jackie whenever he gets knocked-down and continues to get back up for more where you see him struggle by not being able to say a lick to anybody around him. For that alone, you really get behind the man but once he starts rackin’ up the points for his team and he really begins to turn on the skills; then it just gets better. After all of this, it becomes not only an entertaining baseball movie that has a great time with all of the hits, the runs, and the steals (in baseball terms at least), but a movie that takes it’s subject seriously and doesn’t feel the need to drop a bunch of gooey-tasting syrup down our throats. Some moments are like, but not all. And for that, I have to give Helgeland a crap-load of kudos for telling the story the way it was meant to be told, and not getting lost in the mix of conventionality. That could have easily happened, too. But thank the movie heavens that it didn’t.
Another smart-decision that Helgeland made as director was by actually casting an unrecognizable person as Jackie Robinson. And an even smarter-decision on his part, was getting a guy that actually pull the roll off perfectly. Chadwick Boseman is the name, ladies and gentleman, and it’s a name you should remember for awhile because he’s so great here, that it’s hard to imagine anybody else playing this role, without anybody in the crowd being able to get past the fact that it’s somebody we all recognize and can put our finger on immediately. Nope, not Boseman and what a find this guy truly was. Not only does he have the skills to make it seem like Jackie was a really nice guy at heart, but also have the chops to show us how much it really did take him to hold-back and not go all nutso on every a-hole around him. Just the look in his eyes would get me, and that’s the sign of a talented-actor at work. Maybe I’m selling him a bit too much here, but for me, I feel as if this guy’s going to get more and more roles as time goes on. And if not, oh well. Then he’ll just have to join the line of “promising, young black actors that never quite made it”. Right behind Rob Brown, of course.
Then, you go right-off the field and into the manager’s office where you find Harrison Ford as Branch Rickey, in the type of role that you’d never, ever expect him to play, but he pulls off stunningly. Seriously, I thought that this was going to be one of those roles where an aging-star takes to stretch out his skills, but instead comes off like he’s trying too hard to make it seem like you don’t notice him, when we all do but that’s not this performance at all. If anything, this is probably Ford’s best role in a decade (yes, even better than this), because it finally seems like the guy is having the time of his life for once in awhile. I can’t remember the last time I’ve seen Ford actually take a role such as this, and just make it his own, but not without hiding himself underneath the character to where we can’t get past the fact that it’s “Indy in a bunch of make-up and a fat-suit”. Instead, we see Branch Rickey in his duck-like cackle, his huge eyebrows, and his business-like way of negotiating things. His story may seem a bit “dickish” considering his character is all about getting a black player on the team for money, but after awhile, we see more about this person that may surprise you. Not just because this person actually seems to have a heart and soul, but because it’s so surprising to see that Ford can still pull-off dramatic scenes that make you come close to crying. I didn’t shed a tear at all throughout this movie, but I came pretty damn close at one point and that’s all thanks to Ford.
The rest of the cast is pretty damn good too, even if they don’t have as much screen-time as Boseman and Ford. Lucas Black is great as Pee Wee Reese, one of the only Dodgers players that seemed to have a soul; Christopher Meloni seems like a perfect-fit as the strong, but understandable GM, Leo Durocher; John C. McGinley is awesome to see on the big-screen once again playing the Dodgers’ play-by-play commentator Red Barber, nailing every line and wit the man had to offer; and also be on the look-out for a relatively nice supporting performance from Ryan Merriman as Dixie Walker, one of the last players on the Dodgers who couldn’t get used to Jackie’s stay on the team. Name not ringing a bell, okay then, see if you recognize this. Oh, how time flies by.
Consensus: 42 isn’t the definitive-movie about Jackie Robinson’s life on, and off the field, but it’s still supported well by a perfectly-casted group of stars, a script that shows us the harsh realities of the man’s life, while also the bright spots of it as well, and also throw some inspiration at us. Not a home run by any means, but at least a ground rule double.
8 / 10 = Matinee!!
At the end of the day, boys will be boys.
Sean Devine (Kevin Bacon), Jimmy Markum (Sean Penn), and Dave Boyle (Tim Robbins) were three childhood friends who lost touch over the years, all because of an incident that happened to one of them. All these years later, Jimmy’s daughter, Katie (Emmy Rossum), is found dead in the park, and it’s up to Sean to find out who killed her, why, who, what, where, and when, but somehow, Dave seems like the most prime-suspect out of them all. Whether or not he did it, is left up to these three to figure out.
Movies that try to deal both with a human-story and a mystery, never fully come together and seem to work all that well. However, Clint Eastwood seems like the type of dude who’s been in enough movies to realize that anytime you can add on real, honest human emotions; then anything can work. He also seems to know that if you can get an amazing cast, that is more than capable of delivering on every, single spectrum; then anything can, and most likely will, work. Clint knows the game he’s getting himself involved with and although he’s been racking it up in the age-department, the guy shows us he still knows what’s up with a good story.
What works so well with this flick is that in almost every aspect, something is always working. For starters, the mystery behind this flick is one that actually works, and one that keeps you glued to wondering just what the hell is going to be revealed, and possibly said, next. Most of these movies that try to add mystery to a human-story, never really seem to work and instead come off like a lame excuse to distract the audience who wants a fast-paced, exciting story, but this isn’t one of those flicks. We are never really told what happened to Katie in the beginning, other than the fact that she was murdered, by the park, and somebody called it in. After that, everything we hear, see, or try to grip and understand, are all news to us and it feels like we are learning everything, just as soon as each and every other character in this movie as well. Love a fine mystery-tale, especially when it’s done well and not for cheap-kicks.
Then, you get to the human-element of this whole story, which is really the anchor to it all and has everything come together like a fine string, between two Dixie cups. Every character in this movie, for no matter how long or how little you may see them pop-up on-screen, you still feel like as if you know them for all that they are, all that they were, and all that they ever will be. Sure, some are more pleasant to think about than others, but you still can’t help but be intrigued by the way that these characters interact with one another, and just how they find ways to connect around the a murder-case like this.
The most interesting character-relationships in this movie, were definitely the three boys we see at the beginning: Sean, Jimmy, and Dave (remember those names). At the beginning, we see how they were childhood pals, until something very disturbing and dramatic happened to one of them, and separates them all, while changing the course of their lives forever and ever. After we see this change in their childhoods, we then fast-forward to them being adults, moving on with their lives, and making ends meet, but still never, ever forgetting about that fateful day that impacted all of them, not just that one person. Throughout the rest of the flick, they always go back-and-forth about that moment in their lives, and they realize that it changed who they were, forever, but never really come to terms with how or why. They know that one person was actually hurt and had to pay the piper, but in the end, they were all hurt that day and never seemed to forget about it, nor heal from that pain. It’s interesting that they all see each other in one-on-one’s, but never show up altogether. It’s as if the movie wants you to see how separated they are, not just from each other, but the rest of the world around them. Maybe that’s just a bunch of babble from yours truly, but it’s something that I felt, and something that I saw and continue to think about even while writing all of this jibber-jab.
But trust me, not everything in this movie is as clear as I may make it out to be (or not). The movie has characters that you don’t know whether or not to trust, like, dislike, or even care for, but you still remained enticed by everything that you see them as. Eastwood also has an interest in each of these character’s lives and personality-traits, and shows how each of them react to certain situations differently. Some are cool, and some are nervous bumb-fucks. Some are suave, and some jittery-jatters. Some know all the right things to say, and others do as well, they just don’t know how to say it. You see all of these characters act and respond to the same situations, the same questions, and the same happenings, but yet; they are all different in their own ways, and watching that was just about perfect. It was even better to watch, if not just for the actual characters themselves, but the performances that were there to back them up.
When you have a story that’s so rich, so deep, and so compelling as this, with characters that are on equal-measure, it’s necessary to have a cast that can handle this, and that’s exactly what all of these heavy-hitters are ready to do, and do it in style. Sort of. Back when this flick first came out, everybody ranted and raved about Sean Penn and his performance as Jimmy Markum, but it’s rants and raves that were meant to be. Not only does Penn give one of the greatest freak-outs of all-time (second to this, of course), but he also gives us a deeply-layered, and beautiful glimpse inside the world of a man that’s trying to be right, trying to be good, and trying to be well-mannered, but just can’t because of his natural-tendencies. Markum is not a nice guy and is definitely not the type of guy you’d be easy and able to trust when it came down to getting business done the right way, but he’s trying and you can see that in every single scene that Penn shows up in. Most of the time, he’s a grieving father that’s just taken down, notch-by-notch, because of the fact that his baby girl is dead, but he continues to get back up, fight, and search for the truth. The ways he goes about it, the answers that he finds, and how he responds to those said answers, are not always the most “just” ways of going about your bizz, but Penn always remains stoic, compelling, believeable, and understandable in the way he never loses hope, even if death is staring him right in the face. It’s not as corny as I may make it sound. Trust me on that.
Tim Robbins comes very close to stealing Penn’s spotlight as Dave, an old-time friend of Jimmy’s, who also just so happens to be married to his wife’s cousin. Don’t know what that would make them in terms of family, but I guess they’re related, right? Okay, whatever. Anyway, Robbins is amazing as Dave, not just because Robbins knows how to play crazy like anybody’s business, but he really plays it up without going overboard in the sense that he’s way too insane to be considered the type of guy you’d want to marry, have, and raise a family with. He seems like an honestly-nice dude, that just so happens to have a pretty fucked-up past that gets in the way of his present-day happenings. That never makes him a bad person, but just the type of person you never know whether or not to trust, and what it is about him that’s so shady. Whatever it is, that mystery and that dark-shade of him, always stays there between us and that character, and it not only works in the movie’s favor, but Robbins’ as well. Both him and Penn received Oscars for these roles, and in my opinion: were both well-deserved. Then again, I think I share that same opinion with many, many others out there in the movie-reviewing world.
Marcia Gay Harden plays Dave’s wife, Celeste, who knows about Dave and what he did the night Katie was murdered, but doesn’t know how to accept the fact that maybe her hubby was the killer out of all of this. Harden is great with this role and this character because it gives us a sense that this woman loves her husband to death, but still doesn’t know if she can trust him in all of this, and finds herself in a dilemma between choosing between love, family, or being fair. She’s always nervous, she’s always twitchy, and she’s always scared, and some may call her performance one-sided for that, but Harden handles it perfectly, and never lost my interest.
Kevin Bacon seems like he got the shortest-stack of the bunch with a character that isn’t as interesting and sure as hell isn’t as memorable as these two, but still proves that he’s the man when it comes to owning roles like these, no matter how procedural they may be. It also doesn’t help that his character’s wife just so happened to have left him, with their baby, calls him almost all of the time, and never speaks. She just sits there, with the phone to her ear, in silence as the guy rambles on about nearly nothing. Still, Bacon is great through all of this, it’s just obvious that Eastwood wasn’t as concerned with this character as much as he was with the first two. Laurence Fishburne plays Sean’s fellow-detective who’s also investigating the case and is great with what he does, but is only there to give some slappy, side-comments and show how he isn’t as biased as Sean may be. Then again, Fishburne is always worth watching, especially in roles where he’s playing himself better than anybody else.
Even though the cast, the direction, the writing, the themes, and the mystery behind this whole movie, worked for me and had me loving just about every second of this, there is always a glaring-problem that never ceases to leave my mind when I think of this: the ending, or should I say: the final 10 minutes. Without spoiling all of the shite that goes down in the final-act, we leave with a dark, but reasonable conclusion that effs with our minds, our hearts, and our eyes, especially with everything we just saw for the past two hours. However, the movie doesn’t end there, just when it should have. Nope, instead, the movie felt the need to add on an epilogue where we not only get one, whole scene dedicated to Laura Linney’s characters, Jimmy’s wife, acting as Lady Macbeth-type character, but also feed us an ending that sort of contradicts the whole movie.
For instance, the movie plays around with the themes of people staying true their ways, their morals, and their nature, but somewhere, those themes get lost in a strange conundrum of characters not acting like themselves. It’s so hard to go into all of this without giving each and every thing away, but for the people who feel like they know what I’m talking about, you may be able to understand that some people realize some things about others, that they didn’t know before or has just become news to them, but yet, they choose to do nothing about it and go about their lives as if nothing happened. That would have been fine for one or two characters in this movie, but for the one that it does high-light, it seemed wrong, too theatrical, and a tad stupid, as if Eastwood really wanted us to feel like nobody was meant to be trusted, nor were they meant to be liked in any way, form, or shape. It’s not a happy-ending, per se, but it’s the type of ending that may piss you off because everything up until that point, was going swell, but had to end right there. Damn you, Clint. Why’d you have to go and ruin a good thing?
Consensus: The ending doesn’t make sense in the grander scheme of things, but everything else in Mystic River leading up to that, is still near-perfect with it’s powerful acting, realistic themes about life, and interesting character-traits and relationships that never always seem to add more heart and depth to this mystery, rather than just finding out who the baddie is.
8.5 / 10 = Matinee!!
If Daniel Johnston is going to hell, he’s going there with a smile on his face.
Daniel Johnston is one of those rare talents that comes around every once and awhile that so many people seem to love, hail as a genuis, and consider an icon among the cults, but never hit it as big as he should have. Whether or not you agree with everything that was just said there, doesn’t matter because this is the story of his beginning to present day, where it’s a wild ride of drugs, acoustic guitars, manic-depression, hanging out with Sonic Youth, scamming your way onto MTV, and singing about Casper the Friendly Ghost. Trust me, this is not going to make any sense and probably seem a lot stranger than you’d imagine, I warn you on that.
I’ve always known and listened to Daniel Johnston and although I’ve never really considered him an honest genuis, I’ve always thought that there was something unique, raw, and different to him that set him apart from the rest of the lo-fi crap that I hear and seems to try too hard. Maybe, just maybe, at the time that his stuff was being released, he was a bit too over-hyped because he was so different at the time, but nonetheless, the guy’s still an original that deserves to be heard, in order to be believed. Can’t say that about many musicial-artists nowadays, which is why it is such a work of beauty to see a documentary that shows a glimpse inside the mind of who some say is a genuis, whereas others just think he’s a total nut. By the end of it all, you’ll be able to make-up your own opinion as to what side you reside on. I’m still somewhere in the middle.
What makes this movie so damn interesting from the beginning is the fact that Daniel Johnston himself is a very original, and interesting person to cover that every single story of his, seems like it could be made into a whole other movie and is almost too good to be true but here’s the weird part: it’s all real and not only do they have people to testify to it, but they have actual audio-tape as well. When we see his up-bringings as a kid of a very religious family, we see how much of a ruckus he caused by filming and recording everything around him, as if he was making snippets of his life for a possible-documentary in the near-future. Then, as time goes on, we start to see his creative genius really start to blossom into making him an underground sensation that we hear about more than ever nowadays, but there’s always the bad side to every great and wonderful story.
At some parts during this movie, yes, it does feel like a bit like a Behind the Music episode, but the fact that it’s Daniel Johnston that they’re covering here, is what really seperates it from being just like that. Throughout the whole movie, you are constantly taking on these wild rides of adventures that you’d never expect to happen, but because it’s Daniel Johnston and this all happened, you can’t help but be fascinated by what you hear and see actually occur. All of his music aside, the guy has had a pretty extraordinary life, and despite what the others around him may say, he never seemed to waste a minute of it.
Take for instance that he suffers a nervous breakdown that’s so bad and so insane, that he actually gets the cops called on him at his own Christmas party. Doesn’t sound so bad, okay? Well, then take the fact that he not only tried to kill his dad once, but twice? Still nothing? Okay, how about the reality that the guy actually went into a woman’s house, charged at her for no reason other than the fact that he thought she was a Satan-worshipperer, and made her jump out of a second-story window? I could go on and on and on, but trust me, there’s more insane stories you’ll find out here and it’s all done in a sincere, believable way that only adds more to the legend of Daniel Johnston and all of the crazy shit he’s been through, as well as the crazy shit he’s put everybody around him through.
Still, no matter what, the movie never makes a mockery out of the guy and still shows how he is regarded as a genius in terms of being a musician and an artist. The guy’s got some strange songs, but you ain’t seen nothing yet until you’ve seen his art work. It definitely isn’t the most normal pieces of beauty you’ve ever seen in your life, but they are still intruiging and give you a larger-view of how this guy sees the world and makes sense out of it. Does it always seem like he’s rational? Hell no! Actually, I’d say that abvout 95% of this movie is dedicated to him just being irrational and insane, but those moments that show the inner-beauty of this person and artist, really makes the trip worth while and one you won’t soon forget.
But if there is anything that I can recommend this movie for enough, is that it actually makes you want to listen to this guy’s music and see what all of the fuss was, and still is about, with this guy and all of the back-stage hysteria he caused. I was already a bit spoiled before seeing this flick since I’ve heard his music and actually appreciated it, but not like I appreciated it here. This movie gave me a larger look at the man, the myth, the legend, and the music that the legend made, and how it changed so many people’s lives and made them see the world through his eyes. Not many artists nowadays give you that experience (except for the Beebs), and it’s so rich and so powerful to feel that once again, regardless of if you’re a music fan or not. Most of you out there may have never, ever for a second heard of this guy or want nothing to do with him, or hear his story told through all of it’s ups-and-downs (and trust me, there are plenty), but give this one a shot and see if you can see differently. Can’t promise your life will forever change, but it may just see things a tad bit differently. Maybe.
Consensus: Whether or not you think that Daniel Johnston is a genuis or not, is totally irrelevant. What does matter is that you are able to see the world through his eyes, become interested by his story, and how he was able to put a voice and a sound to his name, all by himself and never letting anybody take over. The guy may be really crazy, but he’s an interesting fella that I won’t soon forget. Nor the stories about him.
8.5 / 10 = Matinee!!
Rescued from his degrading life as a circus freak, John Merrick (John Hurt) is given a chance by a dedicated surgeon (Anthony Hopkins) to live his last years with comfort, respect, and dignity. But since life has not been so kind to John Merrick, he finds it hard to open-up to the rest of the world and let others in. Then again, can ya blame him when you look like this?!?!
David Lynch is a guy that I can never wrap my head around as to whether or not I like him, or just find him bat-shit crazy. Mulholland Drive had me for the first hour or so, then just totally lost me after about the box came into play; Dune just sucked and was a film I wish I couldn’t understand, just to add some more interest to it; Wild at Heart is strange, but very engrossing with its themes and different genres; and Blue Velvet is a very strange, dark tale that worked for me mainly because of Dennis Hopper. I know, I haven’t seen all of his movies, but from what I have seen, it’s been a pretty tough act to love, let alone enjoy. However, I think I can add this one to the list of “good Lynch movies” or “enjoyably pleasant ones”.
What sets this film apart from all of Lynch’s other flicks is that it’s not all that concerned with messing with the minds of the audience, as much as it’s actually more concerned about creating a story about a man that has an obvious set-back in his life, but finds anyway possible to get past that and live the life he wants to. Lynch focuses on Merrick and gives us a story that is not only inspiring, but is also very true in the questions and ideas it brings up about how it is to be human. People look at Merrick and see an “animal”, or a “creature”, and write him off as “stupid” just because of the way he looks. However, like every idiot-savant in movies like this (in real-life, I don’t know if they exist), we start to see more of a human-being behind the look and it’s an mesmerizing thing to watch.
However, that is definitely not the case because once Merrick starts to actually talk, we all start to realize that this man is brilliant and one that many of us should look up to considering he doesn’t once ask for any pity whatsoever. Nope, this guy just wants to move on with his life and get past the fact that everywhere he goes, somebody will be staring at him and try wondering what the hell is up with his face and body. To be honest, I’d wonder and probably stare too, but I wouldn’t be as rude about it as some of these people are because I’d realize something fairly quickly: this guy’s a human-being and has feelings like any other human. It’s very hard for anybody to feel and act like this in life, and it’s even harder for a guy like Merrick, but he somehow lives this life-style the whole way through and you are ultimately pulled in right from the start. This is mostly thanks to Lynch’s directing skills because he’s able to play everything straight, while still have a little bit of his weirdness here and there. But Lynch never loses himself and always keep his heart in the right place to give us a story that is one for us all to remember and feel touched by. Sounds strange that this is coming from the same dude who gave us a Naomi Watts lesbian scene, but that’s the whole beauty of this film and what Lynch can do as a director.
But also, that was also my one big problem with this flick. See, as much as Lynch dedicated this flick to being one hell of a story about a man with problems, he still brings in all of these freak-show elements that kind of make this film more confusing than it has any right to be. The first five minutes, we get the signature, Lynch freak-out scene but then it doesn’t come around again until the middle, where Lynch starts touching on all of these freak-shows and other themes of his like the night of the obscure and some strange, sexual obsessions that people have. This wouldn’t seem like something as bad to include in one of his total, mind-fuck movies we all know and sometimes, love him for, but when you place it in a film like this, it seems a little cheap. Also, based on the story we have here, it’s very confusing for a viewer to fully understand just what the hell it is that you are trying to say in the first place. Once again though, it is Lynch we are talking about here and the guy’s never been a fully-sane, fully-functioning person to begin with.
But then again, that’s why we have characters to look at and what a character John Merrick is. Not only is Merrick an inspirational-figure in real-life, but also in this movie and wouldn’t be that way if it wasn’t for John Hurt in this almost unrecognizable role here. The makeup job is done perfectly here and captures exactly what the real person looked like (actually, that guy was worse looking it seems) and I could have only imagined how much of a bitch it must have been for Hurt to have to constantly put that on, day after day. But regardless of how annoying it must have been for him, Hurt still gives off a powerful performance and totally transforms himself into Merrick, whole also actually down-playing the role with ease and subtlety. It’s hard to be subtle when you have a shit-ton of make-up and costumes on, but Hurt is able to capture a sincere presence with his eyes. Oh, those enchanting eyes. Shame that this guy hasn’t fully gotten his due yet from the Academy, but hopefully he will soon.
Anthony Hopkins, another legend on the big-screen, is also very good in a role that seems very fit for him: Frederick Treves. Treves is a character that thinks he is doing the right thing by going around and showing off Merrick to other people, only to realize that he is pretty much doing the same exact thing to him with these meetings, as the last guy was doing with all of those “freak-shows”. It’s one of those characters that hits the dilemma of doing the right thing, but soon realizes he’s way too in over-his-head. But yet, Hopkins always keeps him loveable and for the most part, a guy that’s easy to fall back on, even when shit seems to get a little too hectic for Mr. Merrick. If there was any problem I had with Hopkins, it’s that he always has that frozen look in his eyes where you don’t quite know if he’s nice or just scary underneath all of the glitz, glamour, and charm, but it works for this character and still makes it easy enough for us to care about this guy because he means well, even if others may view it differently.
Consensus: With a surprisingly straight-forward direction by David Lynch, a pair of great performances from Hurt and Hopkins, and an inspirational story at the heart of it all, The Elephant Man is a wonderful flick that will make you feel for it’s main subject but also realize what it’s like to be a human, and what it takes to care for the other humans around you as well.
8.5 / 10 = Matinee!!
Hey, at least robots and aliens will remember your movie 1,000 years from now.
Best Worst Movie is a documentary that follows the lives of the stars of a notoriously bad movie from 1990 called Troll 2. Maybe you’ve heard of it, maybe you haven’t, but either way, it’s considered one of the worst movies, if not, the worst of all-time. Some high-acclaim, right? However, the movie isn’t just about that historical-train wreck, it’s about the people involved with it, most importantly, the film’s most recognizable actor George Hardy who is not an actor working in the industry at all, but is a dentist from Alabama who just auditioned for the movie on his day off and got the part.
Believe it or not, I still haven’t had the time in my life to check out the terrible masterpiece that is Troll 2. Of course I hear all of these bad and hilarious things about it and I’ve seen plenty of YouTube clips over the years, but I have never sat down and been able to go through this train-wreck. I think it’s because I like loading myself with movies that are either ones that I know are good, ones that are okay, ones that are middling, or ones that are worth my time. I don’t always win, but at least I know what I’m getting myself into. I think knowing that I’m possibly going to view and watch the worst movie of all-time, in a sober state-of-mind nonetheless, is sort of where my mind takes me other way. But heck, if this documentary does make me want to do something, it’s call-up all my friends, get a couple cases, sit-down, find this somewhere on the inter-web, and have an absolute ball.
What’s so surprising about this documentary is that was all put together by Michael Stephenson, a dude who played the kid in the original Troll 2, and you have to give him a lot of credit for it as well. Not only does it give you a sense that this kid knows the story he wants to tell, but will also treat it with love and respect that so many people have been giving it over the years. Yes, people do have love and care for shitty movies, whether you’d like to soak that in or not. Stephenson practically tracks down every single person that was part of this production and basically what makes this flick because each and every one of them are as colorful and fun as the last one.
First off, there’s the Italian director Claudio Fragasso, who can’t seem to just admit that this film blows and instead, continues to call it a “misunderstood masterpiece”; secondly, we got former-mental patient, Don Packard, who had a small role in the film and is a guy who seems like he’s on a total other planet, but also comes back down to Earth when he realizes just how special he is to everybody who has seen this movie; and lastly, there is also the leading lady, Margo Prey, who wants barely anything to do with this movie such as screenings, interviews, reunions, etc. and just can’t seem to get her head around the fact that her acting career may just be over with. It all sounds so sad, which in the director’s case: it is. However, it isn’t all played for laughs or sobs, as every single interview/person is treated with the a certain-sense of gratitude that rather than poking fun at these people for ever taking part in something so horrendous. Instead of showing them as complete and utter jokes, it shows them as human beings just wanting a shot at the big-times, had a chance, went for it, and just so happened to be in the worst movie of all-time. Doesn’t happen to everybody, but just could if you aren’t careful.
This is exactly the case for the leading man of Troll 2: the man, the myth, the happiest guy on the face of Planet Earth, George Hardy.
Every single person that was apart of that movie, are as compelling as the last, but none are as memorable as George Hardy for the sake of reason that Hardy is so damn lovable right from the start and almost never ends. Hardy first got apart of Troll 2 when he found out there was a spot for acting and right when the film was over, he went back to his dentist profession where he continued there, even till today. Hardy is such a likable guy because he’s always smiling, saying “hello” or “good morning” to every single person he sees, makes light out any situation like filling in cavities for little kids, and never had any real hopes for becoming the next George Clooney. However, once this movie starts to develop a larger cult following than he could have ever imagined, Hardy starts to get that feeling in the pit of stomach where he wants to live up his 15 minutes of fame no matter what. It was really cool to see how such a regular, everyday guy like Hardy could get swept-up in something like this but still, it’s very believable and entertaining because Hardy seems to be in on the joke the whole time, and does whatever he can to keep himself out there and keep the memory of this flick still alive and well. However, I don’t think he realized that maybe he doesn’t even need to, the film will probably be around forever no matter what.
The film isn’t all about these eclectic cast of characters though, it’s actually more about how a film can be so bad, so terrible, and so god-awful, but also, so fun and still find an audience over 20 years later, where some people even start to consider it a “masterpiece”. I know it seems crazy to say this, but this movie actually had me believing that at one point by how damn passionate people are about this movie and to see Troll 2 constantly keep on showing up at little private screenings/festivals, really shows you just how loved this film is today. I’ve never seen Troll 2, but this film made me actually want to go out there and see just what the hell all of these people are getting stuck ranting and raving about, even until this day.
If there was any problem I had with this flick is was that by the end of it all, it started to lose my interest mainly for the fact that it starts to get a tad bit darker and focus on the sad elements of being apart of a movie like Troll 2. The whole movie before all of this was funny, fast-paced, and very light with its subject, but it all started to go away quickly. Also, I think it could have talked a bit more about getting into movies and how to avoid hurdles like Troll 2 in a career, but it still did it’s best with what it gave us. It didn’t want to become a sob-story about not want to do in Hollywood when you got all of that promise in front of you, so good for them.
Consensus: With a funny, light approach and filled with plenty of larger-than-life personalities, Best Worst Movie is a tribute to what has been considered one of the worst movies of all-time, and shows you just why it’s considered this, but also never loses the essence of why so many people just love it for exactly that.
8.5 / 10 = Matinee!!
May 3, 2002 will officially go down as the day the nerds came back to rule the Earth, as well as the box-office.
This tells the age-old story of science whiz kid Peter Parker (Tobey Maguire), who is in love with his next-door neighbor, Mary Jane Watson (Kirtsen Dunst) and wants to do something successful with his life. That all changes when he gets bitten by a radioactive spider and then he becomes the web-swinging hero who we all know and love: Spider-Man. Problem is, there’s a certain person named Norman Osborne (Willem Dafoe) who stands in the way of him.
I don’t even know why I bothered writing out a little synopsis for this flick because all I probably had to do was just say; “this is the story of Spider-Man”, left it at that, and there would have been no confusion whatsoever. But for all of you younglings that apparently loved The Amazing Spider-Man, well, I got a bomb to drop on you: this is better. Yes, Andrew Garfield is a hottie, I’ll give ya that one.
If any of you peeps out there did read my review that I did for that flick, you could probably tell that I held this series up above everything else and that these flicks actually have a close spot to my heart, as I saw them when I was only about 8 and started getting into my movie watching days. However, now that I watch this film, I do realize that some of this may not work-out as perfectly as I thought when I was just a little tike but it still holds up 10 years later and with great reason: it set the bar the for every other superhero flick that came out after this. May have been a little risky saying that but seriously, think about all of the other superhero films that came out after this and just notice the format that they follow.
Director Sam Raimi deserves a lot of credit for taking this film, when it seemed like nobody else would, and gave it that “fun” element that all of the fan-boys craved from this story. Raimi takes a lot of time to develop his characters, their relationships, and what they mean to this story, but he also doesn’t take it too seriously by allowing there to be plenty of light-hearted moments of comedy, that can sometimes border on camp (the good kind, though), and give us some high-flying action we wanted to see in the first-place. There’s a lot of cool scenes with Spidey, flying throughout the sky and even though they may not look all that real, they still are a lot of fun and it’s great to see what it looks like up there whenever he does fly around on his webs. And even when the action kicks in, you can feel a certain amount of fun energy come right from Raimi’s direction. That’s what makes it pretty obvious that this guy loves the character of Peter Parker/Spider-Man and just cannot wait to get the chance to show us on the big-screen. Sometimes the film may go a bit over-board with it’s goofiness, but it’s all in good, old-fashioned, Raimi fun. And that was A-okay with yours truly, folks.
But back to what I was talking about before in how Raimi allows there to be a story here, because that’s one of the major assets to this flick. I have always thought that Spider-Man has had some of the most likable and endearing characters ever written for a comic, and it’s great to see that come out so well on-screen. Parker is obviously a loveable kid and you’d have to be the freakin’ devil to find anything wrong with him. He isn’t a Saint, but he’s just a lovely kid that you could have over for dinner, and ask him to clean the dishes because you wanna take an early-nap. Nobody has yet to ask me to do that, so the kid’s gotta special! However, what makes this kid so damn special is the little dramatic scenes between him and MJ that get your heart swooning, the scenes with him and Aunt May that show you that the ladies (young or old) think he’s adorable as hell, and it’s the scenes with Uncle Ben that makes you realize that this kid is going to have a lot on his plate as his life goes on. These little snippets of drama that occur here in this flick, make this story all the better to follow through on and pay attention to because you know that these characters are people you love to watch, and you can’t wait to see how they’re relationships develop over time. Mucho kudos to Raimi for giving us a bunch of comic-book characters that feel more three-dimensional than an actual comic-book. Yeah, that was cheesy but I think you’re picking up what I’m putting down.
Going back to Peter Parker, though, Tobey Maguire was probably the most perfect choice of casting you could ever get and it’s total surprise to me now, why the hell people were so against this in the first place. Obviously Maguire wasn’t a huge name in Hollywood and didn’t even really have a leading role in one until this point, but Raimi saw something in Maguire that made this character work wonders and give us a superhero that is not only loved by all out there, but also one that feels very realistic in the way he acts and how those acts change over time as he grows older. Parker starts out as this nerd who one day dreams of being a huge scientist (much like daddy Parker), but still can’t get past the fact that everybody picks on him and bullies him all for one reason: he’s geeky. But then his life changes once he gets bitten by this radioactive spider and that’s when we start to see a realistic transformation, not only in Peter Parker, but in Maguire’s performance as well.
It didn’t matter which side of this character he was playing, whether he was Spider-Man or not, Maguire owns every layer there is to this character and gives us a hero to root for and feel like is one of us. He’s a nerd, yes, but he’s also a kid that genuinely has good intentions in his life and it’s understandable why he wants to help all of the innocent people he does ends up saving. Maguire handles all of the action elements in this character that makes him somewhat of a bad-ass but also handles a lot of the character elements to him too, that make him seem more like a regular-guy that has to put up with some major responsibilities in his life, all because of one little, radioactive spider. It’s a total shame that Maguire has been trying his damn near hardest to get out of this type-casted role as the lovable geek, but I think with a choice role in Brothers (best part of the movie, in my opinion) and a big role coming-up in The Great Gatsby, he may have finally found a way to break out of that mold and I really do hope that he does because he deserves it. God, I love that kid.
Kirsten Dunst plays the apple of Peter’s eye, MJ, and she does a fairly solid job at a character that could have been one of those annoying, “save me, save me” female characters that these superhero flicks always seem to have. I remember as a kid, I fell in love with her and thought she was the hottest thing to ever grace the screen since Glenn Close in 101 Dalmatians (please, don’t ask) and I still think that holds up to this day even if I do think that the romance between her and Peter seems a bit phony. It doesn’t seem very clear why Peter loves her so much in the first place, other than the fact that she’s a hottie that he may actually have somewhat of a chance to be with. Maybe with the rap-sheet that I got, I have no room to be dissing on a guy about what traits about ladies tingle his spider-sense, but this just seemed like Peter wants her only because she’s good-looking and that’s all.
James Franco plays Parker’s nerd-o buddy, Harry Osborne and seems like he’s hamming it up just a bit, but it’s not until later where we see his true colors come out. However, I think that should be saved for another review, my dears. J.K. Simmons was also another perfect choice of casting as J. Jonah Jameson as every-line he says, made me laugh my ass off and even better, he actually looks like J. Jonah from the comics! Perfect choice right then and there!
And the last piece of perfect casting goes to Willem Dafoe for his role as Norman Osborne, aka The Green Goblin. Dafoe is perfect for this villainous role because he just looks like a freak show in the first place, but also plays up a lot of the elements that makes this character tick so much in the first-place. There’s a lot of weird stuff that Dafoe has to go through with this character, but he handles it perfectly even if the big distraction with this villain is that he looks so freakin’ ridiculous. Honestly, with a budget this big, you don’t think they could have come-up with anything better other than a distracting plastic mask that looks like some piece of over-priced junk I’d get at Halloween Adventure for $30! I don’t think I could have come up with anything better than what they got for him here, but there could have been something that looked a little more menacing. Just a little bit more. Machine-guns, maybe?
Consensus: Though it may not hold-up as perfectly as I once imagined it did, Spider-Man is still a fun and entertaining superhero ride from start-to-finish with a light and breezy feel from Raimi that shows his passionate love for Spidey, characters that we actually care about, a story that touches us in a way, and a bunch of performances that are all very, very good, especially Tobey Maguire’s iconic performance as Peter Parker.
9 / 10 = Full Price!!
Anybody wanna split a case?
Kate (Mary Elizabeth Winstead) and Charlie (Aaron Paul) are a happy, and young married-couple that like to let the good times roll, enjoy the night-life, and drink non-stop. It’s all fun and games for them, that is until Kate goes too far and decides it’s time for her to cut it all out and get her life back on-track. She does, but with most sobriety tests; there’s always perks somewhere to be found and that’s the problem Kate and her hub, will most likely run into.
Movies about addiction are nothing new, and 9 times out of 10, that is usually the case. Flight took everybody by-storm because every person that saw it, thought it was a realistic and disturbing look at alcohol addiction. Those people weren’t necessarily wrong, but they weren’t necessarily right either. Rather than getting into a debate about this and that movie, I’ll just state that this movie is a more-realistic look at addiction, the steps it takes to come out of it, and how the people around you influence you the most. In Flight, all we cared about was whether or not Denzel was going use the mini-bar or not. Once again, not bad, but not as humanizing as this movie is.
What I liked so much about this flick, is the way that writer/director James Ponsoldt approaches this topic, this story, and these characters, and he never really frowns upon them or makes judgement. You can tell that this dude, whether or not be him or somebody close to him that he might have known, might have gone through the same exact problem of addiction, and it shines through this movie because nobody ever seems to get the terrible-look that most movies make the mistake of. Of course there are a couple of characters that show-up here and there, and are just as sneaky and dirty as you’d expect, but they aren’t caricatures that are all about sex, drugs, rock n’ roll, and brew, they just like to have a good time, even if that means they end-up sleeping on a couch in the middle of the street.
Ponsoldt seems like he has a clear head on his shoulders when it comes to showing us what it’s like to go through a problem like addiction, moving on in the world, and trying your damn near hardest to get through it. Like this flick presents, it’s not that easy and usually, it’s like freakin’ hell, but the movie never seems to glamorize the life that these people have made for themselves. They get drunk, they get stupid, they get wild, and they forget about it the next day, and go through the same cycle. It’s just the way of life for some people, and that frank, but honest look at the reality of the situation, is what really resonated with me. I’m not saying that it made me think twice the next time I go to my buddies’ dorms and decide to throw back a couple of Natty’s, but hey, at least it gave me the view on what it’s like to be a person that has a problem such as this, and what it’s really like to get through it all.
But I can’t continue to go on and on and on about this movie without mentioning the person that really makes this movie fly: Mary Elizabeth Winstead. Winstead has shown-up in a bunch of movies, done her thing, but never really lighted the screen-on-fire. Sure, she was pretty awesome in Scott Pilgrim, but if that’s the only claim-to-fame for her to have, it isn’t anything showwy for her. That’s where this role for her comes through and shows us that yes, she can act. Winstead is amazing as Kate because she never loses her own self of living throughout the whole movie, no matter how much she is at the bottom of the bottle. She does get insane-o drunk sometimes, and always goes too far, but you always feel for her because you know she is a nice person and would never, ever do anything to hurt a fly. That’s why when things start to change for her and she starts to think twice about drinking all of the time, we really feel for her and we really stand-behind her, no matter how hard it is to stick with the sobriety. There are a couple of scenes where I thought her drunken-act was a bit much, but she still nailed it in making us worry for a person, that we knew didn’t deserve this type of a problem, but then again; who does? Kate could be you, could be me, could be your mom, your dad, your sister, your brother, your dog, your cat, your pigeon, anyone. That’s the whole point of this movie, or at least what I thought it was, and that’s where Winstead really shines through the most.
Aaron Paul plays her hubby that’s always drunk and always acting like an ass, but he still has a nice presence to him where you feel like he is a nice guy, really does love his wife, and wants what’s best for the both of them, but just can’t put down the bottle. Once again, Charlie is probably like anybody we know, but he still has those problems and the marriage between these two, as troubled and as problematic as it may be, still touched me in a way I sure as hell didn’t expect, especially when that ending came around. Woo-wee!
The rest of the cast is pretty damn good too, even if a bit strange. Nick Offerman (Ron Swanson) plays Kate’s co-worker and is great at playing it short, sweet, and subtle, even if I do think that a couple moment she lets loose just a bit too much. What I mean by that is that the guy is funny, we all know that, and when they give him the chance to be funny, it seems a bit misplaced. That being said, Offerman is still good and gives me fine hope that he may have the chance to do more than just Parks & Rec. Maybe. His real-life wife, Megan Mullaly plays the principal of the school that Kate works at, and is a lot better when it comes to pulling-off the dramatic and comedic sides of her skills, but even sometimes she feels a bit misplaced. If the movie decided to take a full-on comedic-approach, with dramatic splishes and splashes, then they would have fit right in. But this is not one of those movies and it doesn’t work quite well as I would have liked. The only person in this supporting-cast that seems to nail the tone down real well is Octavia Spencer as Kate’s sponsor, and does a perfect job at nailing that hard-look at being sober, but what pleasure and happiness it can bring to a person.
Consensus: It may not all add-up, but Smashed is a surprisingly dark, but realistic-look at addiction and shows that this can be anybody in the world, but just so happens to be a young, promising young woman named Kate, played perfectly by Winstead.
8 / 10 = Matinee!!
Get an instrument, learn it, start jamming, start recording, and make money. That’s about it in a nutshell, my friends.
This is a rockumentary about a Los Angeles recording studio called Sound City Studios. To most, it may not seem like much since it’s old, fragile, and doesn’t feature all of the top electronics that most artists live off of today. However, to some, it’s the special place where they all got their start and found out that not only do they love music, but they love recording it as well. Bands like Fleetwood Mac, Nirvana, Nine Inch Nails, Tom Petty & the Heartbreakers, and many more have all played there, but it’s Foo Fighters leading-man, Dave Grohl, who takes the stage and sets out to bring back the old-school studio for the whole world to appreciate now, in the 21st Century.
To be honest, as much of a music fan as I am, I had no friggin’ clue about the Sound City Studios, it’s significance, how many people played and recorded there, and what type of history came passing through. I never really payed much attention to that in the first place, but you’d think that such a landmark studio in the music industry would be very known by now, right? Well, yes and no.
See, it’s yes because the studio has recorded some of the greatest albums of the past century and continued to do so, up until the late-80′s. That’s where the no comes into play. Everything was all fine and dandy with Sound City Studios for the longest time because they were all about a no frills-type of producing. There was no added sounds, effects, or mixers. Everything you heard, is exactly the way it was meant to sound like and not only was that awesome for the artist’s that were able to record that way, it was also awesome for the fans considering they were able to hear everything in the coolest, and most realistic way possible. It feels as if you are right there, listening to all of the band-members just jam their hearts out, without the addition of synths, keyboards, and special-effects that should have been just for the movies, not the music.
But as mighty-high as everybody was around that time, the world started to change, and therefore, music followed the path as well. Once people started becoming obsessed with music that used computers and digital-effects to make the music sound crisper and more perfect, then Sound City found it’s problems because nobody wanted to be around a bunch of people that rocked, and didn’t have a synthesizer with them. Because honestly, let’s all face it: everything needs a synth, right? Hell to the no! However, my word doesn’t count because everybody back in those 80′s, found that it was the right way to go about their music, and therefore, Sound City started to fall-out of tune (pun intended) with the rest of the world and the audience.
Sound City found some life with a little band named Nirvana, who rocked their shells off the right way and enjoyed every piece of it. Then more bands came in, but it was only a short time until life for Sound City started to fall apart, and then, the unthinkable happened: they ended-up closing. That’s right, one of the premier recording-studios of all-time, had to close-up due to a changing world that was more concerned with poppy songs that sound as if they came off a Mac, rather than a pure bread, gritty song coming from the fingertips, mouths, and energy of the artists’. It’s just the way music was made to be played, recorded, heard, and sent out to the mainstream. Sadly, that’s not how it’s been forever, and that’s where Mr. Dave Grohl comes in.
Sorry for the whole history of Sound City Studios, but I feel as if it was necessary since I knew little to nothing about it going in and, in case you couldn’t tell, I feel like I know everything about it going out. This is the directorial debut of Dave Grohl and if you know who he is, basically, the man’s a musical-genius. Some cooler, hipper-types may disagree with me here, but the guy knows his music, he knows how to do it right, and most of all, he knows how to stay loyal and respectful to his roots, where he came from, and where the music that he loves to play and make money off of came from as well. The guy loves music and for that, you have to love him. He’s the man and it’s a perfect-opportunity for him to direct this movie because let’s think about it: who else could do this?!??! Nobody, that’s who!!
Other than making this a long, extended episode of a bunch of people reminiscing on the good old days and how they don’t make ‘em like they used to, Grohl goes one step further. Yeah, he talks about the history, the significance, the figures, the moments, and all of the purrty things about Sound City, but he shows us that it isn’t about the old days and how awesome they were, but more like how much the love of music can still generate within each and every one of us, if we decide to take a page out of Sound City’s book and collaborate together in a way that’s real, and more down to Earth.
Why does that matter though? Well, it’s simple. Being a musician myself, I totally know how it feels to just rock out with your socks out to some crazy jams, with all of your pals, not give a damn about the rest of the world, and just feel all of the emotions and heart that goes into jamming. It’s been awhile since the last time I picked-up the drum sticks, but I can assure you; that feeling always goes through me no matter where I am, or when. It’s always there, and it’s something special that mostly all musicians have, regardless of what type of music, he or she plays. That’s why I can totally understand and relate to where Grohl is coming from when he talks about making music, the good old-fashioned way, and not settling for this laid-back, computer shizz that almost every winner at the MTV Video Music Awards is taking prime-advantage of. Grohl even does go that far to talk shit on how the music bizz has sort of gone downhill with all of the computer-crap, but nonetheless, like the true gentleman he is, he keeps it short, sweet, and never points the finger at anybody in-particular. He just knows that certain people shouldn’t be allowed to sing and play music, all because they have a computer helping them out. Is he wrong? No. But does he have a point? Hell yeah!
The reason this movie works as well as it does, for a music-junkie, is because it taps into that feeling of music that I love so much and it’s great to see those same feelings go through all of these musicians as well. Many people in here show-up from past and present times, like Sir Paul McCartney, Trent Reznor, Josh Homme, John Fogerty, Rick fuckin’ Springfield, Tom Petty, and the man of them all, Krist Novoselic, who seems more than happy to jam with his old, Nirvana buddies. Growing-up and loving all of these guys, you could imagine the type of honor it must have been for yours truly to get a chance and see them all at their finest hours and it just never really went away for me. I wanted to call my buddies up, jam, rock on, and forget about everything else! That’s the way music is meant to be played, and always should be.
As a movie-junkie, though, there does leave some to be desired, especially from Mr. Grohl himself. You can kind of tell that this is his first film, because certain-aspects of this flick don’t add up well with the others. There’s moments where it seems like the movie wants to be a comedy about the golden days, then it gets serious, then it gets technical to the point of where we have no idea what the fuck they’re talking about, and some people get more focus then you’d expect. It’s not a bad direction from Grohl, in fact, it’s actually very, very good, but I have to be fair and say that he does leave a lot to be desired. However, I was so able to get past all of that movie crap and just live it up with all of these musicians, what they feel, and how they feel it. That’s what life is all about, but most of all: that’s what music is, and forever always will be, about.
Consensus: If you love documentaries about subjects you never knew about, and love to get swept-up in everything on-display; then you’re going to really like Sound City. However, if you love music, the way it makes you feel when you play it, and all of the history of it and what makes it so significant, then you’re going to practically fall in love with Sound City. Thank you, Dave Grohl. Thank you.
8.5 / 10 = Matinee!!
“Giants, ain’t got shit on me!”, says the little kid from About a Boy.
Jack (Nicholas Hoult) is a young farmer who ends up taking a bribe from a snarky monk, for some magic beans. Jack doesn’t think much of it, until he goes home, drops some of the beans, and it rains. Yeah, you know what happens next. The beans end-up leading to a land populated by giants with a taste for human flesh, and they have the princess (Eleanor Tomlinson), captured and it’s up to Jack and the King’s royal-men to save her and get rid of those damn giants!
In a way, I can totally see why so many people aren’t looking forward to this movie as much as I was would be expecting. It does seem silly, it does seem stupid, it does see overly-reliant on CG, and does seem like a random-time and place for a movie like this to come out, but that’s all that advertising. That’s why, in another way, I have no idea why so many people aren’t looking forward to this. I mean, first of all, it’s directed by Bryan Singer, it’s written by Christopher McQuarrie (the two did the Usual Suspects together), and it features a new-take, on a classic-tale but told in the type of way that doesn’t alienate older-viewers, but doesn’t cater to the younger-ones either. It’s somewhere in there, slap-dab in the middle and it works perfectly for a movie that could have easily gone South, real quick, had they decided to take the darker-route. Thankfully, they didn’t and stayed straight to the source-material that I’m sure all of us grew-up loving. If not, get off your asses, and read that shit! You haven’t experienced childhood until you have.
Anyway, aside from that point, I have to say that this movie is a huge bag of fun in the sun! Okay, maybe no sun is involved because it is the beginning of March, but nonetheless, it’s still a hell of a wild ride, straight from the imaginative-mind of Bryan Singer. Here’s the thing about this movie: it doesn’t cater to a certain crowd, yet it’s the type of film you can bring your kids to, mainly boys. Why? Because it’s got all of the right-ingredients that a boy at that age should oh so desire: action, fun, humor, giants, fart jokes (not as eye-rolling as it sounds), swords, guys speaking in funny-accents, and a whole lot more where that came from. If that doesn’t sound like the perfect piece of cake to allow your kids to take a bit out of, I don’t know what the hell will!
Some may rag on this flick for not going any-deeper than just being a loosey-goosey, fun, and wild romp about the Jack and the Beanstalk-tale, but who needs that when you have Bryan Singer just playing around with the material that it seems like he actually enjoys? Seriously, the guy is having a ball with this material, and in-return; so are we. He never lets loose of the action and never loses his mind on what type of movie he’s making. He’s always making a wacky and crazy movie that has a bunch of people, hunting-down giants, and sometimes, vice versa. You can’t ask for much more, unless you want the Usual Suspects-Singer. If you go in and expect that type of Singer, then you’re going to come out of this with a huge slap-mark on your face saying, “WRONG!!”. It’s just a fun-as-hell movie. That’s it.
I could beat this horse to death with all of the shit that I’m saying, but it’s the truth: this movie is just fun. Take for instance, the fact that I saw this at a 11 a.m. screening on Saturday, not expecting anything other than a movie that would be okay, so I could sleep my hangover away. However, that’s where the surprise came. The movie woke me up instantly, and didn’t lose me for a single second. Sure, it started-off pretty slow and made me feel like I was in for a ride that I would most likely doze-off for, but as soon as Jack gets those treacherous beans, it’s a total and complete party, right from there. Singer never loses the sense or style of that party, and always kept me alive, awake, happy, and above, entertained. I can’t give this any more credit. Just go see this movie and be ready to see the return of Bryan Singer. The guy knows exactly what he’s doing with a story, how he wants to film it, and how he wants to keep the spirits alive while doing-so. If there is any increment in my mind that the guy can handle the next X-Men, this is the reason why I think so. Now, I just cannot wait!
As for the cast, they all seem to be up-to-pace with all of the fun and wild times that Singer’s having behind-the-camera. Nicholas Hoult is charming as the naive Jack that has to grab his pair, and beat the shit out of some giants. He does do some of that, but not enough to where I was feeling like, “Wow, this character really is a slayer.” Don’t get me wrong, Hoult’s good and all, it’s just that I wish Jack was doing more slaying of giants, like the title promised.
Instead of Jack doing all of that bad-assery business of slaying the fuck out of giants, all of that is left up to Elmont, playued by the awesome Ewan McGregor. Say what you will about the questionable-choices the guy has made in the past, but Ewan McGregor is a very, very likeable presence that always keeps my attention on him whenever anything’s going down, and he just so happens to be located in the same scene. McGregor seems to be having so much fun playing the charming, but bad-ass soldier that doesn’t take “no” for an answer, and never lets his target get away. He’s not as sadistic as I may make him sound, but McGregor does have a cool character that can kick ass, take names, chew bubblegum, and spew-out hilarious one-liners, like nobody’s freakin’ business. Where the hell was that in all of the Star Wars movie, dammit!!?!?
Stanley Tucci is another one that seems to be having a lot of fun in his role, but instead, is more of the bad-guy here and absolutely revels in it. Tucci is a great screen-presence to have on-screen, but to watch him chew the hell out of the scenery and spit it back out, was just a blast to see, and probably an even bigger-blast to perform. Tucci’s good at playing weird-o bad guys (*cough* The Lovely Bones *cough*), but a simple one that’s just evil for the darn-sake of being evil, is even better in my book. The only one who feels like a bit of a waste is Ian McShane, who really seems like he just wants to break-out his shell, get loose with it, and just start being the bad-guy himself. Instead, he’s all wrapped-up in that King’s armor that makes him look more like a freakin’ egg than any type of ruler, but hey, at least we get to see those devil-ish eyes. God, they still scare me to this day.
Consensus: Jack the Giant Slayer is not what you think it to be from the misleading trailers and advertisements It’s not a waste of time, it’s fun, it’s exuberant, it’s made for the whole family, it never loses it sense of joyfulness and even better, just never loses what it’s all about in the first-place: complete and utter entertainment. Don’t bother with the 3D, but if you’re bored and got nothing else better to do with your life than watch highlight clips of the Oscars, then give this bad-boy a shot. You won’t be disappointed.
8 / 10 = Matinee!!
Still have no clue why Detroit hasn’t tried this yet.
Set in a crime-ridden Detroit, Michigan in the near future, a police officer named Alex Murphy (Peter Weller) is brutally murdered by a gang of thugs (lead by Kurtwood Smith). Murphy’s life is over and is hailed as a hero for all of the service that he put into his job, but is that really it for the guy? Somebody from the malevolent mega-corporation OCP finds a way to subsequently revive him as a super-duper, crime-fighting machine known as RoboCop. Fun and hilarity ensues, I guess. All depending on what side your on.
The fact that Hollywood wants to give this original piece of material, the remake over-do that they are so in love with nowadays, really shocks me. It shocks me even more now, considering that the remake for Total Recall that blasted it’s ways into cinemas, just as quick as it blasted it’s way out, was forgettable, noting-special, and even though I didn’t hate it like others, still didn’t have the fun or charm of what made the original so lovely. Who knows what those grubby-paws of Hollywood have on their minds for the remake of this classic, but whatever it is that they do; at least we’ll always have this to fall back on. Oh, the lovely 80′s. How I miss your synthesizer-heavy scores.
Paul Verhoeven is considered a cult-director, that the mainstream audience still loves. This was his first foray into American cinema, and the heavy-baggage that he brought along with him was great to see, especially when you think about how much life and excitement he pumped into the sci-fi genre with this movie. Where Verhoeven excels with this movie, where others seemed to lose themselves on, is that he has a wonderful-sense of pacing. The guy is all about blood, action, gore, explosions, bullets, guns, and robots doing crazy and violent things, but he has also has an essence of what makes a story; a story that you not only care for, but realize is there underneath all of the guts and glory (literally).
Now, I’m not saying that the guy gets really dramatic on us, but with a story about a guy who loses his life due to a death, and has to make sense of it all while killing baddies left-and-right; you still have to give some credit to the dramatic-fireworks that may or may not be on-display here. For a story that’s more than I ever expected: I have to give credit to Verhoeven but it’s not the guy’s specialty by any stretch of the imagination. The guy’s specialty is action, action, action, and there’s a shit-load of that for all of you suckas to love and chew-on, while you try your hardest to not geek-out when RoboCop uses brutal-force against some sons-of-bitches.
This movie is exactly the type of fun you could want from a sci-fi flick: it’s fun, electric, entertaining, and always gory. The movie definitely has a look and style of it’s own in the way that it shows the future, shows the crime, and shows all of the violence that occurs, but never, ever shies away from it. Instead, it gets down and dirty with it all and gives us the fun that we always want from a sci-fi movie, especially a BLOODY one like this. I’m still surprised that this one garnered an R-rating, considering all of the crazy and disturbing that they do actually show and allow to go on here. However, it’s Verhoeven and the guy still finds a sense of beauty in the way he kills people, and how gory he makes it all look.
However, don’t be fooled by it all, because this movie is pretty damn weird. But don’t think weird is a bad thing, it’s a great thing, especially when you’re talking about this movie. There’s a lot of satire to be had here where, every once and awhile, two newscasters will pop-up on the screen to talk about daily happenings and give off some of the corniest line-readings ever but also make fun of the way our media treats violence. Like when one of the newscasters reads about 113 people dying in a burned building, and then quickly changes right away to a commercial about a brand-spankin’ new car to buy that’s out on the market. They don’t do this a lot in the film, but whenever they do, it made me laugh and realize that this film wasn’t just all about robots, guns, and murder, it’s more about the way our media is just getting dumber and dumber through television. This is obviously something that everybody knows about in today’s world, and some films even have this same exact central theme, but it’s just surprising to see it done in a film from 1987, when shit did seem to get a whole lot dumber, thanks to television. Then again, I don’t really think movies make you that much smarter, either. Or maybe it’s just certain ones that do. Either way, I’m a dumb fool and I like it! Woo-hoo!
If there seemed to be any problem with this movie that’s really holding me back from giving it a 9, it was that this is an 80′s movie, and it can be laughably cheesy at points. Hell, what the heck am I talking about!??! It’s always cheesy!! And one of the main pieces of cheese that annoyed the shit out of me was the character of Lewis, played by everybody’s favorite Brian De Palma babe, Nancy Allen. Everybody in this movie seems to have a chip on their shoulder, know what they’re about to do next, and have it go in the way that they planned: but not Lewis. No, siree! Lewis is a dumb character that yells, annoys, and nags everybody around her the whole time. And I’m not even talking about the characters in the movie, but us as well and it made me wish that RoboCop did a better deed and just got rid of her mouth before any further damage or harm was done anymore. She was only really there for the emotional-support this character needed to get through a relatively rough-time, and that was about it. Didn’t see any real reason for her to be around, or to serve the plot. Just there to be another pretty face and help RoboCop not serge his circuits when he was crying like a little bitch.
Despite Nancy Allen being grudgingly-annoying throughout the whole movie, Peter Weller is actually still holds the fort down pretty well as Murphy/RoboCop. His monotone voice may be pushing the character and his delivery a little too far, but let’s face it: this performance isn’t about what the guy can do with what he says or how he says it, it’s all about kicking-ass, fighting crime, and saving the day like we all know and love RoboCop for. That’s all that matters in a movie like this, and as much as I may sound like a d-bag for getting on the movie’s case of being dated, it still was able to fall by the waist-side for me in certain-spots. Not all of the spots, but certain, and that’s more than I could say about Nancy Allen or whatever the hell it was that she was doing. God, I hated that chick.
However, just you wait and watch as you get a bit blind-sided by this movie. What I mean by that is even though RoboCop is our hero for the 2-hours and is there to fuck shit up like we want him to do, he isn’t the immovable-force that steals the show in this movie. Nope, that credit goes right to Kurtwood Smith as the extremely memorable villain, Clarence Boddicker. That’s right people, Red Forman gives one of those classic “love-to-hate” villains that every good sci-fi film needs, and it’s such a surprise to see this come out of Smith. He’s dastardly, sadistic, pretty damn smart, and even though he may not have the tin-build of RoboCop, the guy still proves to be a total threat you do not want to fuck with, no matter how shaky things get for him or for RoboCop. It’s a nice battle between these two that we get to see, enjoy, and realize that it’s something we never really get to see all that much in film’s nowadays, let alone ones of the sci-fi genre. Great villain and definitely the right guy to go toe-to-toe with RoboCop in the grander-scheme of things. Bravo, Red. Bravo.
Consensus: Since this is an 80′s movie, RoboCop suffers from being dated in most areas, but still works when it wants to crank-up the volume, kick ass, take names, fight criminals, and let us all see how much ketchup packets it had in it’s budget. It’s a sci-fi flick that hasn’t aged well in certain areas, but the areas that it has aged well in: are what make it awesome.
8.5 / 10 = Matinee!!
Everybody’s a little crazy. Even the guys that protect our country with guns.
A young Marine named Davis, aka Joker (Matthew Modine), sees the Vietnam through his eyes and his eyes only. We follow him through the gruesome days of boot-camp under the tutelage of a vicious drill sergeant (R. Lee Ermey), and then as he ends up becoming a correspondent for Stars & Stripes, where he actually gets to witness and partake in all of the brutal violence he was trained in. Obviously, not everything is as easy as it seems when it comes to taking another human’s life, and that’s the moral problem Davis hits early-on.
I’ve seen this movie about 3 times by now and have yet to let it all sink in and fully hit my brain, head-on with enough understanding and comprehension to make all of my thoughts seem more than just aimless ramblings. Maybe that last sentence didn’t prove to you that I know exactly what I’m talking about but trust me, it’s been awhile since the last time I saw this movie and I’ve come to one assumption, and one assumption only: the war sucks.
By now, everybody knows this as “Kubrick’s two-act film”. The reason it’s called that, is because the first part of the flick plays out so damn differently from the latter, that it’s almost a shock to see it come from the same director, let alone be in the same movie. But have no fear, because no matter where and when Kubrick puts his story, he never loses his grip with what message he’s trying to get across and what exactly can be accomplished with when you have a guy with a head on his shoulders (a crazy head, but a head nonetheless), some extreme skills as a director, and also, the most important factor of all: a camera in your hand.
What makes this movie work so well, even after the 4th time I’ve seen this by now is that Kubrick never dumbs the audience down for the material that he’s showing. However, he also doesn’t allow it to go way too over-your-head neither. He lets his messages and themes play-out, but also gives you something more to think about. Like take for instance, the first act where we see these young, punky kids get beaten, battered, and torn to shreds by this drill sergeant that shows no remorse, never lets them live down a single damn thing, and continues to badger them about being the killing-machines that act first and shoot last. It’s a pretty fucked-up idea that the guy has, but it’s also what the war his in mind as well, and we see just how Kurbick lets us know how messed-up it is with the first-act playing out in the type of way you wouldn’t expect it to go.
This first-half is where I think, and most other people too, the film’s at it’s strongest. It shows you just how hard and brutal it can be to be apart of the army, and still have the right frame-of-mind to believe in everything that you’ve been taught to believe. That’s what our country teaches us, that’s what our politicians teach us, so why not the army? Kubrick really lays down the law with this first-act and we see him tell a simple story, in a simple way, but still give us a compelling-look at something we would have never been able to see before, had it been shown to us by anybody else. Then, it sort of goes down-hill from there.
Actually, that’s not totally correct to say, because the second-half still has it’s moments, but they still aren’t as strong as the ones in the first. After we leave the boot-camp and actually get down and dirty with the battlefield itself, we see how all of these soldiers handle all of the teachings and training they’ve been handed, and use it when necessary This is where the film get’s really dark, really heavy, and really preachy. Just by watching the first-shot in this movie where all of these young dudes were getting their heads all shaved and groomed for the army, already had me knowing that Kubrick was against the war and felt like it was stupid for us to throw young men like these fellas into it, and be nothing more than meaningless deaths. It’s a sad truth to say, but it is the truth nonetheless and I got that this was the point Kubrick was trying to make, until he continued to bash me over the head, non-stop with it.
By the latter-half of the movie, you start to realize that not only is the war having physical problems with these soldiers, but physical as well. Everybody’s all gung-ho with the violence, loves their guns so much that they just cannot wait to shoot somebody with them, and are a bunch of freaks when they have to come to terms with what they’re fighting for, who they’re fighting for, and what losing a person/fellow solider is all about. I got that they’re going crazy and aren’t very inept with the rest of mankind, but after awhile, it’s just so obvious to sit-through and listen to, that you stop to care after awhile. Kubrick is always known for being the guy who loves to show you something that’s on his mind and usually does it in the most clever way possible, and hell that’s what we all love him for! But here, in this movie and this last-act, we start to lose that sensibility that Kubrick had, the sensibility that made him stand-out from the rest of the crowd and show that he’s working on a higher-level than these other chumps.
Still, as much as I may rag on and on about what he does wrong, Kubrick still did a lot of right in this movie and kept me glued to the screen, even though I knew exactly what happened, where, how, and why. I guess that’s just the problem you run into with most movies when you see them a couple of times, but I was so shocked that I was still able to feel on-edge with everything Kubrick showed, graphic and non-graphic. The war sequences are stunningly shot and make you feel as if you are right there, in the action with them and proves to us all that Kubrick could handle a shaky-cam better than anybody else could. So take that Blair With Project peoples! All seriousness though, whenever Kubrick has a vision in his head, he sticks to it, and never lets it go, no matter how much of his message he may hammer into our skulls.
Maybe the whole point was to make us feel like we were one of the soldiers. I don’t know. But what I do know is that the guy is one of the greatest filmmakers of all-time and really shocked me by how much he was allowed to get away with here. Controversial? You bet your sweet ass it is, but that’s what anti-war films are all about. So, whatever it is that you do, do not, I repeat, DO NOT request this as a movie-viewing on Veteran’s Day, or else you’re going to have some pretty angry vets coming at your neck. Just a fair warning, that’s all.
I know it isn’t Kubrick’s style to give into conventions and be like everybody else, but this movie would have greatly benefited from some sort of main character that drives this story the whole way through. Yeah, Matthew Modine is here and is fine as Joker, but still doesn’t seem to be much of an asset to the story, as much as he’s just a reason for us to actually pay attention to all of the crazy shit that’s going on around him. It’s sort of a sad thing to notice, because Modine is a quality actor, but it’s something that I noticed early-on and I wish Kubrick payed more attention to, rather than just going for the gull by trying to look fancy and cool with his style-points. He gets those points, but has to lose character-points as well. Can’t win ‘em all, Stanley!
Even though Modine’s character doesn’t supply us with the fuel for the fire, two other actors in this movie do. Vincent D’Onofrio gained a lot of notoriety and in a way, still does to this day because of how much weight he put on for this role as Leonard Lawrence, aka Gomer Pyle. Apparently it was around 80 pounds or something, which to me, sounds like just another night of partying and drinkin’, but I digress. The guy deserves all of the credit he gets for his work here in this movie and not just because he gained all of that poundage, but because the guy makes us actually believe this sweet, kind man can go from being the nice kid who lives next-door, to being the psycho you would never even trust around your kids, let alone next to your own house. D’Onofrio really nails what it’s like to go from being normal, to being a total nut that’s all gung-ho for war, guns, and violence, and shows that the brain-washing techniques it seems like the army uses, isn’t always for the better of man. Maybe for society, but not for the man itself.
However, that’s where R. Lee Ermey comes in and proves, well: that we were right. Ermey is amazing as the drill sergeant that takes no prisoners when it comes to teaching these boys a lesson about what it means to become a solider not just of the war, but of the country as well. Ermey, whether he’s yelling out insults at people or lecturing the boys on how they should not fuck with him or he’ll fuck them right back, Ermey is always interesting, always compelling to watch, and always had me laughing. He’s the main reason why that first-half is so much better than the latter-half, and that’s why it’s a shame to see him and D’Onofrio go and leave us with the presence of Matthew Modine and a bunch of other schmoes that you’ve all seen before, you just don’t know where or when. Not to discredit them or anything, but nobody’s really as stellar as Ermey or D’Onofrio. That’s just the simple fact, Jack. I don’t know who Jack is, but I just wanted to sound cool so leave me alone.
Consensus: Even if Full Metal Jacket isn’t Kubrick’s best, it’s still a heck of a lot better than most cinema out there and proves to you that the war sucks and that everybody who gets involved with it are usually messed-up in the head, dead, or have no chance of understanding what it means to be a human-being, nor do they have a way to understand just what the hell it is that they are fighting for. It’s obvious stuff, but with Kubrick behind the camera: it’s always fascinating.
8.5 / 10 = Matinee!!
If gay means happy, then why is everybody so damn muggy?
Torn apart by the shattering impact of the death of his long-time lover, college professor George Falconer (Colin Firth) experiences the most transitional day of his life, blending past and present, desire and despair, and discovering that love persists even after the object of love is gone.
Way back when in 2009 when this film was making it’s whispers of Oscar-talk for Firth, I really wanted to go see it but didn’t have a car, didn’t know where to see it, and even worse, didn’t really have the time to make out of my day, to go see an art-film like this. However, almost four years later, and with a car, with an idea of where to see it, and with plenty of time in my day, I’ve finally seen it and I’m really pissed at myself for missing-out all these years. Boo, the 16-year-old version of myself!
This movie marks the filmmaking debut of designer Tom Ford and you can totally tell that this guy has had something, no matter how big or little, with the world of designing just by looking at a single-frame of this movie. Everything is so polished, so lavish, so classy, so jazzy, and so beautifully, that you really feel like you are in the 60′s, watching a real story play-out in front of your own eyes. At first, it may seem like the movie is a bit too artsy-fartsy and way too happy with itself, but after awhile, the constant stylized-montages and changes in color, really make sense to the story and actually change the mood of what you are about to see. Yeah, Ford may be obsessed with making things look purrty, almost a bit too purrty, but there is absolutely no problem whatsoever, with keeping a person’s eyes on the screen, especially if your material is weak.
However, you don’t have to worry about that instance here, because the material is very strong in the way it always keeps you riveted and always keeps you interested in what’s going to happen. What I liked so much about this movie, is how simple the story is and yet, it’s always so intriguing into seeing where it goes with itself. You get to see this one man, who’s so heart-broken, who’s so sad, and who’s in so much pain, and you get take a glimpse inside a day of his own life and see where his mind goes throughout the day’s events, and how this one day shapes the rest of his life. We get a crap-ton of memories, flash-backs, and surreal, dream-like sequences, but they all fit within the context of the story and what Ford is going for and it really surprised the hell out of me.
The feelings you get with this story aren’t life-changing, but they are at least relate-able considering that this man has lose the love of his life and still has no idea what to do with it. Quite frankly speaking, I think we can all relate to that idea and message, so to see this one man, who we just meet, go throughout his day and struggle with that hurt in his heart and reserve in his step, it’s truly believable to see and very understood. Never has a flick really been so simple like this, yet, make it so much more than what it’s plot seems to out-line. I don’t know if we have Ford to thank for that, or the source material he adapted this from, but I know one person we can thank: Mr. Colin Firth, himself.
Before King George VI, and before he has become to be known as the most-lovable British man on the face of the planet, Colin Firth was one of those supporters you would see in British rom-coms like Bridget Jones’s Diary and Love Actually, and more or less, came-off as the thinking’s man Hugh Grant that just never really got the shot to take a film, that he so rightfully desired. Here, as George Falconer (pretty boss name to have on your birth certificate), Firth gets to show everybody why he deserves that shot and shows us all why he can do almost anything and everything, with one, simple look on his face. This performance isn’t all about theatrics, it isn’t all about him yelling and screaming the whole time, and it sure as hell isn’t about him just breaking down every five-seconds so we get the idea that he’s sad, this is more of a performance that’s all about being subtle and understated, while still making us feel something for this guy, that we literally just met right-off-the-bat.
Still, as much as you may feel bad for this guy and all that he’s going through, Firth still has plenty of charm and wit to him to where you really feel like he’s the type of sad-sack you would want to cheer-up, whether it be sexual or just a regular, shared-brewskie at the bar. Firth has that every-day man, sense of likability to him that works so damn well with this role and it’s a real wonder why it took him so freakin’ long to nab a leading-role in a flick like this. I would hate to sound cliche and obvious by stating that George Falconer was the role Firth was born to play, but after seeing this flick and seeing all that he can do with a simple-script like, it would be damn-near impossible to state anything different. If Jeff Bridges didn’t get the pity-win for Crazy Heart that year, you can bet your sweet ass that Firth would have been the next in-line for that win.
Since Firth is so damn good as Falconer and just about steals this movie from underneath his feet, the rest of the cast sort of pales in-comparison and that’s a problem when you have a film like this that relies so heavily on everybody else coming in to spice the story up away from Falconer. Julianne Moore is surprisingly raw as Falconer’s bestie/ex-lover, Charley, and is very interesting and fun to watch in a role where she just lets loose on all of her grubbiness and grit, but also feels like she should have had more to do here. She shows-up for a scene or two, does her vulnerable-act, and is essentially gone from the rest of the movie. That’s not so bad since Firth is a revelation to watch, but the film would have definitely been a lot better had they given more scenes to him and Moore together. Then again, it’s not a terrible thing when you have an actor like Firth and performance like his.
Matthew Goode only shows-up in flash-backs as Falconer’s deceased-lover, and brings enough heart and warmth to a character we really need to know more about to fully invest ourselves, and does a good job. But like Moore, I just wish there was more of him to fully get us going. And lastly, Nicholas Hoult plays a student of Falconer’s that seems to be almost obsessed with him and constantly stalks and asks him questions, that would make any person just cringe right-away. Hoult definitely gets a chance to show everybody that he’s grown-up (especially when he’s butt-naked a few times), but that’s about it as the kid definitely left his acting-skills with him back in his adolescence. It’s not that he’s a bad actor, it’s just that this character is so one-note and obvious that once you start to see his true colors pop-out, it’s so glaring that it’s distracting to the rest of the film that seemed to be all about having subtle, but heartfelt emotions about life and love. Hoult definitely looks the part of a confused, 60′s-era college-student, but doesn’t feel like it and when you put him up-against Firth, it’s too obvious to set-aside.
Consensus: Thanks to an amazing performance from Colin Firth and an artful direction from Tom Ford, A Single Man may be simple, but still has the power of a wrecking ball to hit your brain and your mind with it’s ideas and thoughts about life, love, and heart-ache, but yet, also feels like it could have been so much more if there had been more time and grace given to everything else.
8 / 10 = Matinee!!
All of this, just for a $50,000 painting. Come on now!
Aksel Hennie plays Roger Brown a guy who seemingly has it all. He’s got the job, the house, the money, the wife, the girl on-the-side, the lavish life-style, and the love for stealing ancient paintings. One day, he finds out that one of his job prospects is in possession of a valuable painting and sets out to steal it. He gets it, but in a way, gets more than just a painting and finds himself in way over his head.
By now, most of you who kill brain-cells by coming to my site everyday, reading what I have to say about a certain movie, and seeing what I think at the end of the post, usually know by now what it is that I like when it comes to my movies. I like good, original stories that don’t really have to change the world we live in, but can at least entertain me, grip me, and keep me wondering just what is going to happen next. It’s very rare hat I usually get a movie that does all of this in one-sitting but that’s why the Norwegian’s were put on this planet: to keep my movie-spirit all alive and well. Thank you so very, very much!
With this movie, I was expecting nothing more than a botched-heist, that turns into a run-and-chase with cops, robbers, and guns going every which way, and ending in a finale that would culminate in all of the different sides coming together for one, large, blood-bath. What I didn’t expect, was to get something more along the lines of “unconventional, original, and totally mind-bending”. Those aren’t direct quotes from anything or anyone, they’re just from my mind and the element of surprise is what really took me over in this flick. What seemed to start off so simple and plain, ended-up being something that I haven’t seen from a crime movie of this nature in the longest-time in the way of how it plays with your mind, toys with you, and set you up for something that you rightfully do believe is going to happen, when out of nowhere, the film pulls the rug right from underneath you without you expecting it at all.
Heck, with a movie that seems to build itself on so many goddamn twists, you automatically think you’d be able to pin-point when and where the next plot-turn is going to rear it’s ugly head, but the movie even messes around with you on that idea. Even when you think you know what the flick is up to, it totally fools you into thinking another way and that goes to show you how much fun you can have with a film that has balls, isn’t afraid to show them to you, and maybe if you’re lucky, play around with them too. Disgusting analogy, I know. However, it’s the only one I could think of that showed this flicks determination to take no prisoners and to never, not for one second be thought of as “obvious and predictable”. I looked through all of the reviews for this one and haven’t seen those words used once, but if there are people out there who think this movie is that, well, then I hope you left school already, because you’re way too cool for it. Yeah, another bad one. I know.
However, the movie isn’t all about showing you what type of twists it can pull next, it actually has a personality going for it; albeit, a very schizophrenic one to say the least. For instance, some moments make you feel like your watching a fast, quick-witted crime-movie that has a sense of style and humor that is hiding below the surface; then, it all of a sudden changes up into a relationship-drama about this guy and his woman trying to have a baby and save their marriage; then it gets even weirder by dropping on on some gross-out comedy that really seemed to come out of nowhere; and somehow, some way, ends-up veering into a crime-flick of everybody’s standards, but one that still has a dark sense of what it’s making fun of and why. It’s a very weird flick that can’t make up it’s mind on what it sets out to be and where it’s going to end-up, but it does it in such an exciting and fun way, that you never feel like the flick veers out into just straight-up strange material that doesn’t work. It all makes sense, it all feels right for the mood, and it makes the movie all of the more exciting.
But, as always, being a movie that’s always about it’s crazy and wild twists that seem like they just get pulled out of people’s asses at-times, the movie’s charm doesn’t always work and seem believable. Without diving too much into what goes down and making this a spoiler-ific post instead of an actual review, I’m just going to say that there are a couple of times where it seems a bit absurd that certain people survive certain happenings, and certain occurrences do seem a bit coincidental. I mean, yeah, coincidences do happen in real-life and it’s a huge surprise to us when they actually do occur, but in a movie like this, it seems more like a contrivance, rather than an actual, realistic-way to move the plot on and continue with it’s adventure. Still, if you can drop-down a lot of your ideas of believe-ability and natural-physics, than you may be able to take it all in without the grain of salt. Then again, I can’t promise anything.
I also think a lot of that believe-ability comes into question when you think about the main character in this whole movie: Roger Brown. It’s not that Brown isn’t a believable character that you would actually expect to get tangled up in this web full of lies, murder, crime, and sex, it’s just that the way everything happens to him makes it seem like he’s the character of a video-game that we just so happen to have a cheat-code to every life-opportunity there is in the game. It’s like we continued to never want to give-up and die, and decided to pull an all-nighter, just as long as we had the cheat codes to continue to move on with the game, and not our lives.
I can’t talk too much ish though, because Brown is actually a pretty good character, all thanks to the performance of Aksel Hennie, a guy I have never seen before but I hear is the shit from where he’s from. The guy’s got plenty going for him as an actor, but when it comes to the look: he’s deadly. He has these wide, buggy-eyes that are reminiscent of Steve Buscemi, but has the vulnerability and insecurity that makes you feel like you’re watching a high-schooler who just got a sexy car because of his daddy. The guy’s got two conflicting-sides going for him, but he allows them to come together in a nice, neat package that makes sense when you take into consideration all of the insane, and hardcore shit he does and has to go through, throughout the next 2-hours. Hennie was a great choice for this role and I hope to see more of him and not just in Norwegian films, but hopefully ones from the state as well as I think he could quite possibly have a career over here if he gets the chance to pursue it.
The man that I’m sure everybody knows in this movie, is Nikolaj Coster-Waldau, who everybody may know from Game of Thrones, and is pretty damn bad-ass in this movie. Not only does the guy have a sexy and cunning-look that’s reminiscent of some of the best villains in movie-history, but he’s also a pretty darn tense guy to be around and makes every one of his scenes work, even though he doesn’t take over the whole movie like you’d expect. He doesn’t show up much, but when he does, he commands the screen and let you know that he runs the show, whether or not you see him in the front of the screen at all-times.
Consensus: For those of you who don’t prefer extra butter with your popcorn, may find Headhunters to be a tad cartoonish with where it goes, but if you love movies not having an ounce of clue where they might take you next, and love being fooled with at every step-of-the-way, then prepare to have a total blast with this flick.
8 / 10 = Matinee!!